한국 여성국극 담론의 재구성: 전승 노동, 국가유산 체제, 대중문화 재현의 교차점

초록

This article reconsiders yeoseong gukgeuk, traditionally cast as a vanished popular theater of the 1950s, as contemporary transmission labor and a candidate for national heritage, and analyzes its discourse formation in three phases. First, it traces how research has shifted from recovering the genre’s existence, aesthetics, and audience relations to questions of transmission, labor, and rights. Second, it examines transmission sites where senior and younger performers share the stage, demonstrating how dispersed venues, intergenerational collaboration, and embodied pedagogy constitute a structure of “transmission-as-livelihood.” Third, it analyzes the 2024 transition to a national heritage regime, the Yeoseong Gukgeuk special performance, and popular-cultural representations to clarify the conditions under which yeoseong gukgeuk is rearticulated from an object of memory into a transmitting subject demanding support. The article presents a discursive shift from mourning to transmission and, ultimately, to the language of rights and heritage, and calls for a reconsideration of how gendered artistic labor relates to national heritage policy.

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