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UID:pretalx-wha-annual-meeting-korea-2026-GZ9HRH@pretalx.com
DTSTART;TZID=KST:20260627T135500
DTEND;TZID=KST:20260627T141500
DESCRIPTION:This paper situates the ongoing difficulty of defining changgeu
 k’s stylistic identity within the global circulation of the concept of 
 ‘drama’ in the twentieth century. As Western notions of causally struc
 tured plot became institutionalized through modernization\, translation\, 
 and colonial-era cultural exchange in East Asia\, ‘drama’ emerged as a
  universalized formal standard. Changgeuk has consequently been evaluated 
 according to its proximity to Western dramaturgy.\n\nReconsidering this fr
 amework\, the paper reconceptualizes ‘drama’ through pansori’s perfo
 rmative narrativity and sound-centered aesthetics. Focusing on Bonjour\, D
 octeur Knock(2025) by Creative Taroo\, it examines how the production fore
 grounds unaccompanied vocalization and minimizes musical accompaniment\, p
 ositioning sound as the primary medium organizing genre\, affect\, and mea
 ning. Its scene-centered structure\, fluid role transitions (four actors s
 haring one role)\, and the overlap of narrative and present performance ti
 me generate drama not as causal representation but as a performative event
  emerging in the here and now.\n\nThe analysis engages three theoretical f
 rameworks. Saussure’s semiotics elucidates how sound functions as a sign
 ifying system that generates meaning rather than substituting for music. C
 hion’s theory of listening clarifies how unaccompanied vocalization acti
 vates the audience’s memory and cultural experience\, evoking genre-spec
 ific listening modes associated with boat songs\, trot\, and ritual incant
 ation. Schechner’s performance theory further supports an understanding 
 of the work as a performative event emerging in performance rather than as
  the representation of a fixed dramatic text.\n\nEngaging the conference t
 heme ‘Closed Borders and Global Connections\,’ the paper argues that w
 hile ‘drama’ has circulated globally as a universal aesthetic category
 \, it also operates as a conceptual border grounded in historically specif
 ic assumptions. By examining how changgeuk negotiates and redefines this c
 ategory\, the study highlights how non-Western performance traditions cont
 est and transform dominant theatrical concepts in the ongoing condition of
  being global after globalization.
DTSTAMP:20260412T140201Z
LOCATION:Room 204 PC Desk (Seats 30)
SUMMARY:Rethinking ‘Drama’ in Changgeuk: Conceptual Borders and Perform
 ative Sound in Bonjour\, Docteur Knock - Sojung Kim
URL:https://pretalx.com/wha-annual-meeting-korea-2026/talk/GZ9HRH/
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