판소리계 소설 낭독극 대본으로 다시쓰기 활동의 교육적 의의와 수행 지침

초록

To appreciate the emotions of the character and the atmosphere of the scene conveyed through the unique dynamic style in Pansori novels, it is necessary to recite the original text and experience the breathing and rhythm of the narrative. In this study, I attempted to rewrite the Pansori novel Chunhyangjeon(春香傳) as a reading script in a Korean literature reading class—a major subject in Korean language education—because the educational expectation effect of reading-theatre performance activity is high as a teaching and learning method that can lead students to read the original Pansori texts with interest. In Pansori novels, the purpose of reading is to faithfully appreciate the original narrative method; therefore, the reading-theatre script-writing activity was focused on organizing the original in a form suitable for recitation in three dimensions rather than modifying it. Writing a reading script usually requires a clear distinction between commentary and dialogue and encourages the use of easy expressionsas much. However, in the case of Pansori novels, these general guidelines were repeatedly found to be difficult to apply to the script-writing process. In particular, confusion arose over how to treat ambiguous passages between commentary and character dialogue and how to enhance audience understanding of difficult Chinese words and quotations from classical literature and history. To address these difficulties, additional special guidelines tailored to Pansori-based reading-theatre scripts are needed, considering their divergent characteristics. This study proposes two such guidelines after reviewing learners’ script-writing cases. First, writers should express emotional continuity between commentary and dialogue by appropriately using instructional phrases. Second, scripts should prepare for the listening experience so that audiences enjoying reading-theatre can associate the meaning of the word or quotation with the sound. In addition, the deeper educational goal of rewriting Pansori-based novels for reading-theatre may be to explore the intermediary nature of silent reading and oral storytelling, allowing learners to reflect on the points where silent- reading practices, which implicitly work in the process of writing a script for reading-theatres, conflict with the oral storytelling of Pansori-based novels.

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