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 Pansori
that is weaved with long stories such as 'Simchong-jeon' 'Chunhyang-jeon',
is one of the branch of the Korean traditional music. One standing
person gesturing, singing and talking plays it. A drummer accompanies
and used to make fun with the shouting 'Eulccigoo' to the sori.
In recent years it is usually played indoors like a theater
or a room but in old times it had been played outside. It was
called 'Pannorum'. Several groups of players make order for
performance and then sing, dance and play in turns at an extensive
ground. 'Pannoreum is the name in all. The word 'Pan' is given
for all the 'Pannoreum'. In 'Pannoreum the dancing on a rope
is called 'Panjul(rope)' 'Pangud'' for instrumental music of
peasants, 'Panchum' for dancing and Buddhist invocations is
called 'Panyeombul' and 'Pansogo' for playing little drums.
According to this 'Pansori' is 'sori' (musical sound) in a 'Pannoreum'.
Then what is 'Sori' and 'playing sori'. We can notice that it
means 'song' or 'sing a song' by the old fashioned expression
such as 'good at sori', play 'one stage of sori' or by the remained
expression such as 'sori for weeding' 'sori for bearing a bier'.
'Pansori was born and grew up in Korea. It also used to be called
'Jab-ga' 'Chang-ga' Bonsa-ga' in Chinese characters but these
names are not used anymore.
The person who plays 'Pansori' had been called 'Changyoo' 'Gagaik'
'Goangdai' 'Sorikkun' but now days there is no certain name
for them. People calls 'Gosu' for a drummer. In 'Pansori, it
used to be said 'sori handa' for singing songs and 'aniri handa'
for talking 'balim handa' for gesturing. The words 'Balim' can
be changed with 'Neoleumsai' or 'Sachai'. And 'Chuimsai' is
the exclamations by a drummer. He plays the drum and exclaims
"Eulccigu, jotta!" or " Eui, jotchi!" at
the proper moments. |
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 One
singer originally plays 'Pansori'. There is a new style 'Pansori'
that several people sharing the characters like in a western
opera, play and sing in a theater. It is called 'Changgeuk'
but not 'Pansori'. The form of 'Changgeuk' was generated by
the influence of 'Changhee' of China or the new styled play
of Japan in the1900's. A lot of people in the 'Pansori' field
consider it a transmutation not a development of 'Pansori'
In old times 'Pansori' had been usually played for a big family
party, a big exorcism of a village or a party of a government
office. Usually 'Pannoreum' with 'Pansori' had been opened on
a big yard or a main floored room. At very first time a rope
player dances on a rope somersaulted shows their skill dancers
dance after all of them 'Sorikkun'(singer) take turn. The activity
of 'Pansori was called 'Soripan'. 'Sorichong' was the place
where 'Soripan was opened. |
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 'Pansori'
is weaved with 'Sori' and speech based on stories. There would
be many kinds of 'Pansori' according to the number of stories
that are based of it. At the time of the King Jeongjo and Sunjo
of the Joson dynasty 12 'Pansori' were collected among the countless
'Pansori' and they were called 'Pansori 12 'Madang(stage)'.
The word 'Madang' is a unit for counting 'Sori', dance and play.
And it is a plaza in modern word. It is also called 'Pan' or
'Batang' which is is 'Han pan nonda' (it means playing in a
large scale) and 'Han batang nonda'.
People have a little different choice to select 12 stages. In
the writing 'Gwanuhee' the brief detail of the 12 'Madang' are
written by the literary man 'Song man-jae' of the King Sunjo
of the Joson dynasty.
The scholar on Korean literature 'Lee-hyegu' who presented 'Gwanuhee'
to the learned world clarified the 12 'Madang' for <Simcheong-ga>,
<Chunhyang-ga>, <Heungbo-ga>, <Sugung-ga>,
<Jeokbyeo-ga> , <Byeongangsoe-taryeong> , <Babijang-taryeong>
, <Jangkki-taryeong> , <Ongojib> , <Waljja-taryeong>,
<Kangleungmaihwa-jeon> , <Gajjasinseon-taryeong>.
In the age of Japanese imperialism 'Jeong-nosik' wrote <Jangkki-taryeong>,
<Byeongangsoe-taryeong>, <Musugi-taryeong>, <Babijang-taryeong>,
<Simcheong-ga>, <Sugung-ga>, <Chunhyang-ga>,
<jeokbyeok-ga>, <Kangleungmaehwa-jeon>, <Sukyeongnangja-jeon>,
<Ongojib> in <Choson changkeuksa>. By comparison
between them 10 'Madang' are same but there are <Musuki-taryeong>,
<Sukyeongnangja-jeon> in <Gwauhee> instead of <Waljja-taryeong>,
<Gajjasinseon-taryeong> in <Joson changkeoksa>.
But, actually, only one is different because <Waljja-taryeong>
has the same content as <Musuki-taryeong>. <Beongangsoe-taryeong>,
<Babijang-taryeong>, <Jangkki-taryeong>, <Ongojib>
are handed down with only their accounts and nothing remains
for <Musuki-taryeong>, <Chunhyang-ga>, <Simcheong-ga>,
<Hungbo-ga>, <Sugung-ga>, <Jeokbyeok-ga> are
called 'Pansori 5 madang' of all and they are remained and sung
by the people until now.
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 Although
the origin of 'Pansori' is not become clear, as it is mentioned
before. Many people know that a singer took part in the play
and he (or she) could make a long story with songs, witty remarks,
gestures in the end of play during many players have a various
playing. The origin of playing form, which was tied a popular
folktale with 'Sori' and 'Aniri' by a singer did not become
clear. Some believe that it has borrowed a playing form of music
of epic, which is alike in form of 'Pansori' for example playing
'Sori' mixed with 'Aniri' and the rhythm.
It is thought that 'Pansori' had been sung in the former term
of the Joseon dynasty but the document is very scanty. <Chunhyang-ga>
is the oldest account material in discovered 'Pansori'. It was
written in Chinese poem by Yu-jinhan who has penname Manhwa,
in 1754 when Yeongjo 30. It has been said that 'Pansori' was
formed in the King Sukjong time. It is supposed that ' Pansori
12 madang' were played by the mastersinger Woo-chundae, Ha-euncam,
Choi-seondal but 'Pansori' was very short of length and that
account and music was very simple in that period.
In the King Sunjo time there were eight master singers who were
Gwon-samdeuk, Song-heungrok, Mo-heungkab, Yeom-kyedal, Go-sugwan,
Kim-jyecheol (or kim-gyecheol), Sin-manyeov, Ju-jeoki, Park-yujeon
and they made a big developed 'Pansori' with various rhythm
and tune. Gwon-samdeuk made Seoleonghe, Mo-heunggab made Kangsanje,
Yeom-geomdal and Go-sugwan made Gyeongdeuleum and Chucheonmok,
Kim-jecheol and Sin-manyeob made completed Seokhwaje, Song-heungrok
who was called the great master of singer developed Jinyang
rhythm and Yujo, Gyemyeonjo to the state of art. |
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 'Pansori'
is a dramatic music whice is consisted of the sound of song
and speech 'Aniri'. Considering 'Saseol', we could find it is
included not only speeches of hero and heroine but also interpretation
of scene. Therefore it could be called 'a music of epic'. 'Pansori'
is consisting of speeches and songs, so it might be called as
verse not essay. Not only directly copied 'Sori' book but the
novel based on the 'Saseol' are written nearly in verse style,
contrary to the ancient novel that usually written in essay
style.
'Pansori' originally started making populace the spectators
and singer the player. It is usually filled with frank and humorous
view of human beings, contrary to novels that are not based
on 'Pnasori', because it mainly describes loyalists, filial
sons, virtuous women and the stories containing rewards to the
good and punishment to the wicked.
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 The
rhythm used in 'Pansori' largely is divided into 'Jinyang',
'Jungmori', 'Jungjungmori', 'Jajeunmori', 'Hwimori', 'Eutmori',
and 'Eutjungmori'. Those rhythms are different in beating, speed
and drumming. They are coordinated based on the 'Saseol' emotion,
the feeling of leisure or tension. Drumming depends upon the
voice of the singer, the first passage is to beat strongly on
the right leather by a drumstick, when sings fast should beat
on the right edge of drum body a little stronger, when more
fast, beats on the right top edge quietly, when come to finish,
beats on the middle top of drum very strongly, when slow, beats
on the right leather by hand. |
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 'Dongpyeonje'
It depends on the style of 'Sonh-heungrok', meaning the locality
of
Unbong, Gurye, Sunchang a system of 'Ujo', characterizes its
sound by grave, solid and commanding at first and strong and
round at last.
'Seopyeonje'
It generated from the style of 'Bak-yujeon' meaning the locality
of Gwanhju, Naju, and Boseong, or called 'Kangsanje' a system
of 'Gemyeonjo', characterizes its sound, beautiful, clean and
filled with resentment, at first the sound is soft and slender,
and at last it runs into pathos.
'Junggoje'
It stems from the style of Kim-seongok, brother-in-law of Song-heungrok,
born in Ganggyeong, the style declined from the end of Japanese
occupying, changing largely from the former style and are succeeding
partially, characterizes by the distinction of high and law,
beginning with even, middle high, and the last law.
'Gangsanje'
created Bak-yujeon, the master of 'Seopyenje', passing his last
phase at Gansanri in Boseong county, characterizes by systematization
and its wide range. Bak-yujeon, when young, owing to his beautiful
voice was loved by Daewoncun and frequently visited his home
being acquainted with scholars, and his style based largely
on the exacted idea and advice of scholars at that time. This
style is characterized by emphasizing a gentle style of song
and excluding immorality. 'Simcheong-ga' is his representative
song, other master signer were Bak-yujeon, Jeong-eungmin, Jeong-jaegeun. |
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