In Search of Korean Traditional Opera: Discourses of Changguk

Glossary

229 Glossary The Glossary contains only terms that appear repeatedly in different parts of the book; those that appear only once or twice are explained in their context. ajaeng (아쟁 牙箏) A bowed zither. aniri (아니리) Stylized speech in p’ansori. chaedam (재담 才談) “Witty talk,” an item in traditional variety programs. chakch’ang (작창 作唱) Composition of vocal melodies in p’ansori style. chakkok (작곡 作曲) Composition, primarily of instrumental music. changdan (장단 長短) Rhythmic cycles. changgo (장고 杖鼓) An hourglass-shaped drum. ch’anggŭk (창극 唱劇) Musical drama in which the actors sing in p’ansori style. ch’angjak (창작 創作) “Newly composed,” as opposed to being derived from traditional sources. ch’angjak sagŭk (창작사극 創作史劇) “Newly composed historical drama,” a type of repertory in ch’anggŭk and yŏsŏng kukkŭk. cho (조 調) Melodic modes. chŏngnip (정립 定立) “Establishment” of a genre, implying the fixing of a stable and coherent genre identity. Chosŏn Sŏngak Yŏn’guhoe (조선성악연구회 朝鮮聲樂硏究會) “Korean Vocal Music Association,” an organization of traditional musicians active 1934–1941. ch’uimsae (추임새) Cries of encouragement or appreciation given during a p’ansori performance by the drummer and by knowledgeable members of the audience. chwago (좌고 座鼓) “Sitting drum,” a large barrel drum on a stand. haegŭm (해금 奚琴) A two-string fiddle. Hŭidae (희대 戱臺) The original name of the first Korean indoor theater, built in 1902, which later came to be known as the Hyŏmnyulsa and, finally, the Wŏn’gaksa. 230 Glossary Hyŏmnyulsa, hyŏmnyulsa (협률사 協律社) Originally, the name of the administrative body set up to oversee the affairs of the Hŭidae theater; later applied to the theater itself, and then to touring troupes giving the kinds of performance (including ch’anggŭk) popularized by that theater under its final name of Wŏn’gaksa. kagok (가곡 歌曲) A traditional song form, performed for upper-class audiences. kayagŭm (가야금 伽倻琴) A plucked long zither with twelve strings, all passing over movable bridges. kayagŭm pyŏngch’ang (가야금병창 伽倻琴竝唱) A musical genre in which the performer accompanies his or her own singing of excerpts from the p’ansori repertory on the kayagŭm. kisaeng (기생 妓生) Female entertainer, roughly equivalent to Japanese geisha. kisaeng chohap (기생조합 妓生組合) Groups of female entertainers giving theatrical performances, between 1914 and 1918, which included scenes in ch’anggŭk style with female performers playing all roles. Known after 1918 as kwŏnbŏn. kkoktugaksi (꼭두각시) A traditional puppet theater. kŏmun’go (거문고) A long zither with six strings, three passing over movable bridges and three over raised frets; played by striking with a pencil-like plectrum. kosu (고수 鼓手) “Drummer,” the accompanist in p’ansori performance, playing the small barrel drum puk. kugak (국악 國樂) “National music”; since 1945 the usual general term for Korean traditional music and its newly composed derivatives. kukkŭk (국극 國劇) “National drama,” the usual name from roughly 1945 to 1973 for what is now called ch’anggŭk. kup’a (구파 舊派) “Old school,” a term applied to ch’anggŭk in contrast to “new school” (sinp’a) drama in the 1910s. kuyŏn’gŭk (구연극 舊演劇) “Old performing arts,” a general term applied to ch’anggŭk and other tradition-based performing arts from the 1910s to 1930s. kwangdae (광대 廣大) In general, a professional exponent of traditional Korean folk performing arts; often refers specifically to the sori kwangdae, or p’ansori singers. Kwangmudae (광무대 光武臺) Name used (from 1908) for a theater at Seoul’s East Gate previously operated by the Seoul Electric Company and specializing in traditional and “traditionesque” performing arts over the next two decades. Glossary 231 Kwangwŏltan (광월단 光月團) The leading “old-school” performance troupe of the 1920s. kwŏnbŏn (권번 券番) Groups of female entertainers (kisaeng) mounting theatrical performances in the late 1910s and 1920s, which included scenes in ch’anggŭk style with female performers taking all roles. Kyŏngsŏng Kup’a Paeu Chohap (경성구파배우조합 京城舊派俳優組合) “Seoul Old-School Actors’ Association,” a group active in performing p’ansori and ch’anggŭk in the late 1910s. madanghwa (마당화 마당化) “Madang-ization,” an approach to ch’anggŭk pioneered by director Hŏ Kyu, who sought to recover the spontaneous, intimate interaction of performers and audience associated with the traditional performance space (the madang, or village square) of p’ansori and other folk arts. myŏngch’ang taehoe (명창대회 名唱大會) “Famous singers’ festival,” a format for p’ansori performance in which a series of singers appeared performing different excerpts, not necessarily from the same story. pallim (발림) The gestural component of p’ansori performance, also known as nŏrŭmsae (너름새). p’ansori (판소리) A musical story-telling genre from which ch’anggŭk was developed. p...