박초월 바디 〈흥보가〉의 전승과 변모

A Study on Handing Down and Transfiguration of 〈Hungboga〉 of Park, Cho-Wal version

&nbsp;&nbsp;This focus of this thesis is on the Park, Cho-Wal version 〈Hungboga〉, while studying the alterations in the Pansori traditions in modern times. Specifically, the main points will be Park, Cho-Wal&quot;s handing down relation and words of song, aspects of the song, and furthermore the words changes and characteristics of modern singers Cho, Tong-Dal and Kim, Su-Yeon, who are the active followers.<BR>&nbsp;&nbsp;Park, Cho-Wal&quot;s 〈Hungboga〉 holds a significance in that it is a unique song in itself apart from the master&quot;s. But seen as a part of the whole tradition of 〈Hungboga〉, it also acts as an important link in studying the history of its transfiguration.<BR>&nbsp;&nbsp;Given the fact that 〈Hungboga〉 of Kim, Jung-Moon&quot;s version is not handed down beyond the scene of Nolbo&quot;s opening gourd in the later parts, it can be concluded that, however incomplete it may be, Park, Cho-Wal sang 〈Hungboga〉 in its initial entirety. It also includes distinct words of song contents that are not handed down in the present, representing the traditionary state of 〈Hungboga〉 in the 20th century.<BR>&nbsp;&nbsp;Cho, Tong-Dal, a successor of Park, Cho-Wal, went on to expand the Aniri and a witty talk parts, adding a few parts that Park, Cho-Wal didn&quot;t sing, while still being true to the Park, Cho-Wal version. All this can be seen as an act aimed towards narrative completion. These changes seem to have occurred through the addition of Dong-Pyun-Je characteristics.<BR>&nbsp;&nbsp;Kim, Su-Yeon excluded Park, Cho-Wal&quot;s Chusuknoli part, and included 4 new part of words of song. The conclusion part was rather cut short and left incomplete. But we can say that Kim, Su-Yeon is the better successor of Park, Cho-Wal&quot;s pansori&quot;s aesthetics. Through these facts we were able to see the traditionary aspects of the Park, Cho-Wal version 〈Hungboga〉.