Towards a More International "Koreanness"? The Influence of Brecht on Pansori-Theatre

• In Event: 227. “Koreanness” on Display: From the Museum to the Musical Stage

Abstract

Pansori is a quintessential icon of “Koreanness”. The singing style is unique to Korea, the canonical stories are often deeply rooted in Korean localities, and its registration as a UNESCO intangible heritage of humanity makes it an important asset in cultural branding and oversea marketing. In the last ten years, however, the monolithic connection of pansori to Korean heritage has been challenged and diversified. Creative performers, directors, and producers experiment with new forms of pansori-theatre and use unorthodox sources. Young ensembles stage new works that directly deal with subject matters of contemporary relevance. The productions of the National Changgeuk Company of Korea court audiences with nostalgic and spectacular stage adaptations of traditional pansori works and at the same time experiment with Western classics, musicals, and movies. German playwright and drama theorist Bertolt Brecht is a favorite reference for attempts to "internationalize" pansori, not least due to earlier scholarly attempts to link the Korean tradition with his concept of "epic theatre". This paper explores the role that references to Brecht play in the "re-branding" of pansori and changgeuk, often by expanding the notion of "Koreanness" with a critical twist. Based on performance analysis and reviews of four recent productions, I will consider the ways associations with Brecht's theories and adaptations of his plays transform the potential of pansori both as traditional heritage and as contemporary art for international audiences.

Author

• Jan Creutzenberg, Freie Universität Berlin/Sungshin University