Pansori

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Korean spelling
Korean alphabet : 판소리
Revised Romanization : Pansori
McCune-Reischauer : P'ansori
Pansori performance at the Cultural Center in Busan South Korea

Pansori ( Korean : 판소리 ), a long Epic singing , in which a single male or female singer Gwangdae ( 광대 ) from a drummer Gosu ( 고수 ) on the Buk ( 북 ), a barrel drum is accompanied, comes within the popular music Korea a particular importance to.

Because of the lively facial expressions and gestures of the lecture, former Western musicologists called Pansori a “one-man opera ”. However, it seems more appropriate to describe pansori as a kind of “ theater of narration”, since the singer neither fully slips into the characters nor plays the plot, but instead creates the narrative in exchange with the always lively drummer, who is the first listener, so to speak acts. For the singer, knowledgeable listeners in the audience are important in the course of his sometimes five or six hour performance, who support him with encouraging calls of praise ( chuimsae ).

In 2003, Pansori was added to the list of Masterpieces of the Oral and Intangible Heritage of Humanity by UNESCO .

Word meaning

The term pansori was first found after the reign of King Yeongjo ( 영조 ) (1694–1776) and is formed from the words pan ( 판 ) and sori ( 소리 ). Pan has three connotations , pan as an open space or playground, as hard wood, or as a musical or literary work built according to certain rules. Sori , on the other hand, is translated with sound or also with tone . Pansori could therefore be defined as a song built according to rules, sung for entertainment in certain places.

exploration

Research into pansori is still in its early stages, while the literary side of this art of lecture, which has been passed down orally in music and text, has been extensively investigated for 40 years through numerous, intensive studies in Korea. Literature could illuminate for the most part. The music of the people, however, was not a worthy subject for scientists for a long time and so remained undocumented.

history

Pansori belongs to the tradition of those arts that were performed in earlier times by traveling troops in the marketplaces of the villages. The origins of Pansori lie in the dark, whereas the place of origin of the Pansori in the south of today's South Korea , especially in the former Jeolla Province , can be assumed. There the rough singing style typical of pansori can also be found in other popular vocal music forms.

Pansori singer Gwangdae ( 광대 )

The first confirmed evidence of the existence of hitherto by the learned and aristocratic proscribed class what has been elocution, however, is the Manwhajib 晩華集 , a signature of the writer Yu Jinhan (1711-1791) oral tradition dating back to 1754. From genealogies of Pansori- Singer, one can assume, however, that pansori was developed as an independent art as early as the second half of the 17th century. The pansori singers belonged to the lowest class of society alongside the shamans (whose spouses they were), butchers and traveling artists. This gradually changed when, in the late 19th century , they began to show off their storytelling skills not only in the village marketplaces but also in the homes of aristocratic and royal families.

Since every singer has his own text version, which can be traced back to the different versions of his teachers, there is a uniform version of the five pansoris (“Simcheongga” ( 심청가 ), “Sugungga” ( 수궁가 ), “Chunhyangga” ( 춘향가 ), “Heungboga)” ”( 흥보가 ) and“ Jeokbyeokga ”( 적벽가 )) cannot be determined. As a result of corrections and adjustments to reflect current tastes, many parts of the text and properties have been lost over the centuries. For example, at the insistence of the missionaries at the end of the 19th century, most of the hearty or obscene text passages were erased. The pansori texts were extensively expanded in the 19th century on the orders of the aristocratic patrons who, to increase their own prestige, had Chinese aphorisms and poetry inserted (Chinese was the written language of the upper class), which the pansori singers passed on to their students, although they were incomprehensible to them, who are said to have been thoroughly illiterate. This rather adventurous textual genesis meant that today's Korean listeners cannot understand the chants to a considerable extent. Extensive efforts have now been made to decipher the texts, e.g. B. in the "Deep-Rooted-Tree" LP edition of all five pansoris in the 1980s, in which the notes on the transcription are about six times the length of the actual song text. And in 2005 the Korean publisher Minsokwon (민속원) published a 15-volume edition that not only includes 3–4 "Badis" (versions of famous master singers) of each of the five pansoris in the annotated original, but also in New Korean and greatly simplified English translation.

performance

Pansori drum player Gosu ( 고수 ) playing on the buk ( 북 )

In a pansori performance, the singer usually takes a standing position, holding a fan in his hand, while the drum player sits on the floor and faces the singer. The lecturer communicates in pansori with the drum player and with the audience, with vocal sori ( 소리 ) and narrative passages aniri ( 아니리 ) alternating. While the affect content of these two types of lecture does not differ very much and at most the address to the audience is more direct, the main difference is to be found in the rhythmic-vocal design. Each vocal section has a special, complicated rhythm ( jangdan ) that is controlled by the drummer, but often only suggests the basic beats . Each rhythm is assigned to the respective content. The very slow Jinyang is reserved for sad sections, while the Jungmori , which appears very often, has to support many different moods. Two basic styles can be distinguished: the faster and rather high-spirited Dongpyeonje and the more sensitive and carried Seopyeonje. These styles are not tied to the singer's gender.

Variants of the pansori

At the beginning of the 20th century, in the course of the opening to the West, a pansori-related musical theater form called Changgeuk began to emerge , in the absence of a traditional theater form equivalent to the Peking Opera or the Japanese Kabuki , which distributes the text to different actors and the musical Accompaniment to an instrumental folk music ensemble, which levels out the actual appeal of the special, imaginative form of communication in the panorama and aligns it with the basic structure of western opera .

Another pansori derivative is the Gayageum -Byeongchang , in which a singer accompanies each other while performing individual pansori sections on the arched zither Gayageum.

literature

  • Wha-Byong Lee: Studies on Pansori Music in Korea . In: Europäische Hochschulschriften - XXXVI series - Musicology . tape 61 . Peter Lang, Frankfurt 1991, ISBN 3-631-43711-0 .
  • Chung Kyo-chul, Matthias R. Entreß: Songs of love, loyalty and crafty animals (Chunhyangga, Simcheongga, Sugungga) . In: Pansori - The Sung Novels of Korea . tape 1 . Edition Peperkorn, Thunum / Ostfriesland 2005 ( Online PDF 492 kB [accessed on January 8, 2013]).
  • Yong-shik Lee : Pansori . In: Korean Musicology Series 2 . The National Center for Korean Traditional Performing Arts , Seoul 2008, ISBN 978-89-85952-10-1 (English).

Web links

Commons : Pansori  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Pansori . In: Oxford University Press (Ed.): The New Grove Dictionary of Music and Musicians . Volume 10 , 2001, ISBN 978-0-19-517067-2 , pp.  207 (English).
  2. ↑ Yong-shik Lee : Pansori . 2008, p.  1 .
  3. ^ Wha-Byong Lee: Studies on Pansori Music in Korea . 1991, p. 23 .
  4. ^ A b Wha-Byong Lee: Studies on Pansori Music in Korea . 1991, p. 22 .
  5. ↑ Tong-il Cho ( 주 둥잏 ): Hanguk Munhak T'ongsa ( 한국 무학 퉁서 ) . Jisik Sanopsa ( 지식 사 넙사 ), Seoul 1994, p.  526 ff . (English).
  6. ^ Wha-Byong Lee: Studies on Pansori Music in Korea . 1991, p. 24 .
  7. ^ The National Center for Korean Traditional Performing Arts (ed.): Pansori . Seoul 2004, Origin and Transmission of Pansori , p.  16 (English).