
Contents
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Ch’anggŭk in the Wake of the Wŏn’gaksa Ch’anggŭk in the Wake of the Wŏn’gaksa
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Hyŏmnyulsa Touring Variety Troupes Hyŏmnyulsa Touring Variety Troupes
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Male and Female Companies in Seoul Male and Female Companies in Seoul
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Causes of Decline Causes of Decline
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Cultural Nationalism and the Conditions for Revival Cultural Nationalism and the Conditions for Revival
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The Chosŏn Sŏngak Yŏn’guhoe The Chosŏn Sŏngak Yŏn’guhoe
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The War Years and Historical Ch’anggŭk The War Years and Historical Ch’anggŭk
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Conclusion: The Colonial Legacy in Ch’anggŭk Conclusion: The Colonial Legacy in Ch’anggŭk
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Three Ch’anggŭk in Colonial Korea
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Published:July 2010
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Abstract
This chapter deals with ch'angguk under Japanese colonial rule (1910–1945), highlighting a major development in the mid-1930s that established the main features of the genre as it is known today. That such a development should occur in the midst of the colonial period raises perplexing questions in the postcolonial era, both for ch'angguk artists eager to establish a “traditional” Korean opera free from colonial taints and for nationalist historians inclined to view the indigenous performing arts as having been uniformly suppressed by the colonial regime. Drawing on insights from postcolonial theory, the chapter considers the colonial component of ch'angguk's ancestry in the controversial context of Japan's colonial legacy more generally.
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