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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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It was in the late 1920s that Arirang, a Korean folk song, began to spread nation wide beyond the regional boundary. After that, Arirang played an important role as a valuable material of various genres like film, drama, dance, popular song, literature and etc. and came to stand as a national emblem.
In 1940, the Korean Youths Battlefield Mission Corps(= KYBMC) transformed Arirang into an opera and made a performance of it in Shian, China. The KYBMC had an anarchistic trait and pursued the liberty of Korea and the world’s peace and justice. The corps made more than 10 times performances of the opera Arirang in Shian to promote the friendship between Korea and China, to instil revolutionary ideas and secure fighting power. The 〈Korean Youth〉(the first edition, 07, 1940), a bulletin of the corps, portrayed the details of the performance.
You-han Han, a young musician, took charge of musical composition, scenario, production and starring for the performance, and the corps did its planning. Han, a native Korean, studied music in China and joined the KYBMC after working for the revolution of China. Shian’s large-scaled band, chorus and dramatic company also attended and helped the performance. Because the opera Arirang showed a kind of co-performance between Korea and China, using Korean and Chinese language and western, Chinese and Korean musical instruments, some remarked Arirang as a dramatic substitute having a new form which went over national dramatic features.
The opera Arirang had local performances in the rear cities which were a little away from the battlefield against Japan. It helped the folk song Arirang spread into China. The Chinese people who saw the opera Arirang expressed the ideological and emotional sameness and ties between two countries. The opera arirang was not a sign reminding self-sufficient and closed nationalism or historically-injured consciousness of Korea but it developed as a medium pursuing international ties and peace.
In 1940, the Korean Youths Battlefield Mission Corps(= KYBMC) transformed Arirang into an opera and made a performance of it in Shian, China. The KYBMC had an anarchistic trait and pursued the liberty of Korea and the world’s peace and justice. The corps made more than 10 times performances of the opera Arirang in Shian to promote the friendship between Korea and China, to instil revolutionary ideas and secure fighting power. The 〈Korean Youth〉(the first edition, 07, 1940), a bulletin of the corps, portrayed the details of the performance.
You-han Han, a young musician, took charge of musical composition, scenario, production and starring for the performance, and the corps did its planning. Han, a native Korean, studied music in China and joined the KYBMC after working for the revolution of China. Shian’s large-scaled band, chorus and dramatic company also attended and helped the performance. Because the opera Arirang showed a kind of co-performance between Korea and China, using Korean and Chinese language and western, Chinese and Korean musical instruments, some remarked Arirang as a dramatic substitute having a new form which went over national dramatic features.
The opera Arirang had local performances in the rear cities which were a little away from the battlefield against Japan. It helped the folk song Arirang spread into China. The Chinese people who saw the opera Arirang expressed the ideological and emotional sameness and ties between two countries. The opera arirang was not a sign reminding self-sufficient and closed nationalism or historically-injured consciousness of Korea but it developed as a medium pursuing international ties and peace.
목차
Ⅰ. 머리말
Ⅱ. 한국청년전지공작대와 가극 〈아리랑〉
Ⅲ. 가극 〈아리랑〉의 성격과 의의
Ⅳ. 맺음말
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UCI(KEPA) : I410-ECN-0101-2010-673-001461916