Cover

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In Search of Korean Traditional Opera

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pp. i-vi

Contents

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pp. vii-x

List of Illustrations

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pp. xi-xii

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Acknowledgments

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pp. xiii-xiv

"The problem with acknowledgments is that the more comprehensive one tries to be, the worse the unintended slight to those who still inevitably get left out. Without, therefore, making any attempt at a comprehensive list of names, I must first thank ch'anggu­k artists in general, who have been, without exception, cooperative and helpful with my research. I have received..."

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Introduction

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pp. xv-xxxii

"The stage is suffused with a watery blue light. The set looks exotic, not just to Western eyes, but from any human perspective; and so do the characters. Great coral-like rocks loom up at the rear, and long strands of aquatic vegetation hang from the top of the proscenium arch. Evidently we are in the..."

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Chapter One

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pp. 1-27

"As ch'anggu­k performances are rare outside Korea, and even video examples have only recently begun to be available (on the DVD accompanying the book Pansori; National Center for Korean Traditional Performing Arts 2008), I assume that not all readers of this book will have seen..."

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Chapter two

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pp. 28-72

"The question of ch'anggu­k's origins remains a subject of debate for two reasons: because it matters and because it cannot be definitively answered. It matters because ch'anggu­k's claim to be 'Korean traditional opera' depends on its claim to originate in Korean tradition, and for those with a stake in this claim, a particular view of the genre's origins has been an important basis of its..."

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Chapter three

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pp. 73-103

"While there may still be room for differing opinions regarding the Japanese role in the original creation of ch'angguk, there can be no doubt that the genre as we know it today took shape, in all essentials, under Japanese colonial rule. Some of the performances given at the Won'gaksa and the private commercial theaters before annexation in 1910 appear to have..."

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Chapter four

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pp. 104-123

"While ch'anggu­k performers struggled on, chiefly presenting the romantic 'historical dramas' of the previous few years, it would have been difficult in 1945 to foresee the major resurgence of ch'anggu­k that would take place a few years later. But by the mid-1950s, ch'angguk was even more popular than it..."

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Chapter five

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pp. 124-149

"From the beginning, it has been argued, ch'anggu­k was intended at least in part as an attempt to establish a traditional theater form for the modern nation of Korea (Yi Sangu 2004). Over the years, however, this objective has coexisted and at times conflicted with others, such as the wish to..."

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Chapter six

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pp. 150-175

"In surveying the history of ch'anggu­k, I have been as much concerned with the discourses that have constructed that history as I have with the formation process of ch'angguk's repertory and performance conventions. Because the question of ch'anggÅuk's traditionality has been so much bound up with particular views of its origins and history, historical discourses have been..."

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Chapter seven

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pp. 176-214

"While ch'anggu­k may be defined as opera with p'ansori-style singing, the music of ch'anggÅuk is by no means limited to that of p'ansori. The production described in Chapter 1, for instance, featured Namdo minyo folk..."

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Chapter eight

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pp. 215-224

"The question 'What do you think of Korean traditional opera?' is just one form of the generic question 'What do you think of Korean X?' which any foreign resident in Korea will frequently have been asked. When I taught English in Korea, I sometimes brought foreign visitors to the class..."

Notes

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pp. 225-228

Glossary

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pp. 229-232

Bibliography

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pp. 233-248

Index

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pp. 249-254

About the Author

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pp. 255-256