Pansori

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

Because of the vivid facial expressions and gestures of the lecture earlier western musicologist Pansori have referred to as " one-man opera". However, it appears more appropriate to describe Pansori as a kind of " theater of storytelling ," as the singer neither completely slips into the characters nor the plot auditions, but instead shapes the narrative in the exchange with the always lively responsive drummer, so to speak as the first listener acts. For the singer also knowledgeable listeners in the audience during his sometimes five or six-hour presentation important to assist with encouraging praise Call ( Chuimsae ).

2003 Pansori was included by UNESCO in the list of Masterpieces of the Oral and Intangible Heritage of Humanity.

Word Meaning

The term Pansori is to find the first time after the term of office of King Yeongjo ( 영조 ) ( 1694-1776 ) and is derived from the words pan ( 판 ) and sori ( 소리 ) is formed. Pan has three connotations pan as accessible open space or playground, as hard wood, or as structured according to certain rules musical or literary work. Sori other hand, is translated as sound or even with sound. Pansori could therefore be defined as a structured according to rules song, sung to the entertainment on certain places.

Research

The study of Pansori is still in the initial stage, while you have the literary side of this in music and text orally transmitted elocution for 40 years studied extensively by numerous intensive studies conducted in Korea, while origin, design elements, as well as thematic and structural property of Pansori literature could brighten the most part. However, the music of the people were far from being a worthy object for scientists and remained so undocumented.

History

Pansori belongs to the tradition of those arts that were brought to the stage in the old days of touring companies in the market places of the villages. The origins of Pansori lie in the dark, whereas the origin of the Pansori may be suspected in the south of present-day South Korea, especially in the former Jeolla province. There can be typical for Pansori rough vocal style also in other popular vocal music forms find.

The first certain evidence for the existence of hitherto of the learned and aristocratic class frowned upon gewesenen elocution, however, is the Manwhajib晩 华 集, a signature of the writer Yu Jinhan (1711-1791) from 1754. Orally transmitted genealogies from the Pansori However, singers, one may assume that Pansori was developed in the second half of the 17th century as an independent art. The Pansori singers included not only the shamans ( their spouses they were), butchers and hiking artists at the lowest class of society. This changed gradually, as it not only in the market places of the villages, but also in the homes of aristocratic and royal families their narrative arts began to show off in the late 19th century.

Since each singer has his own version of the text, which go back to the different versions of his teachers is a uniform version of the still five Pansoris ( " Simcheongga " ( 심청가 ), " Sugungga " ( 수궁가 ), " Chunhyangga " ( 춘향가 ), " Heungboga " ( 흥보가 ) and" Jeokbyeokga " ( 적벽가 ) ) can not be determined. With corrections and adjustments to the respective tastes many parts of the text and properties have been lost over the centuries. For example, most ribald or obscene passages have been eradicated on the insistence of the missionaries towards the end of the 19th century. Extensive enhancements experienced the Pansori texts in the 19th century by order of the aristocratic client, which fit Chinese sayings and poetry were to increase their own prestige ( Chinese was the written language of the upper classes ) that have been passed by the Pansori singers to their students, although they were incomprehensible to them that are to be consistently been illiterate. This rather adventurous Text genesis meant that the songs to a considerable extent are incomprehensible to today's Korean listeners. It is now extensive efforts have been made to decode the text, for example, in the "Deep - Rooted Tree" LP edition of all five Pansoris in the 1980s, in which the notes for transcription have about six times the size of the actual song text. And in the Korean publisher Minsokwon ( 민속원 ) has been released a 15- volume edition in 2005, the carefully transcribed from audio recordings not only 3-4 " Badis " ( versions of famous singer and master - singers ) brings each of the five Pansoris in the commented original, but also in neukoreanischer highly simplified English translation.

Performance

In a Pansori performance the singer or singers takes a fan in her hand is usually a standing position, while the drum player sits on the floor and the singer or singers faces. The / the lecturer communicates in Pansori with the drum players and the audience, alternating vocal sori ( 소리 ) and narrative passages aniri ( 아니리 ). During the emotional content of these two presentation modes is not very strong and differs at most the speech to the audience is more direct, the main difference is found in the rhythmic and vocal design. Each vocal section has a special complex rhythm ( Jangdan ), which is controlled by the drummer, but the basic strokes often implies. Each rhythm is assigned to the respective content. Thus, the very slow Jinyang is sad sections reserved, while the often emerging young Mori must support many different moods. Two basic styles can be distinguished: the faster and more high-spirited Dongpyeonje and the more sensitive and getragenere Seopyeonje. These styles are not bound to the gender of the singer.

Variants of Pansori

Beginning of the 20th century, in the course of opening to the West, began, in the absence of the Peking Opera or the Japanese Kabuki evenly matched traditional theater form, to form a related Pansori musical theater form Changgeuk that distributes the text on different performers and the musical accompaniment to an instrumental folk music ensemble increased, which leveled the real attraction of the particular fantasy-filled form of mediation in Panori and it adapts the basic structure of Western opera.

Another Pansori derivative is the gayageum Byeongchang in which a singer accompanying himself at the lecture Pansori individual sections on the Wölbbrettzither gayageum.