The Rise of Sinpageuk and the Development of Yeonhui in the 1910s

This paper reexamines the aspects of yeonhui (traditional performing arts) unfolded in the relationship with sinpageuk (westernized theatrical play introduced from Japan) in the 1910s, which has been under-researched, focusing on the previous studies on the theater and Gyeongseong Gupa (lit. old school) Actors' Guild, which are key topics related to this period. As a result, there were significant differences from existing discussions in many ways. It has been assumed that yeonhui performances in theaters were reduced due to the introduction of sinpageuk in the 1910s. However, except for Yeonheungsa, which actively accepted sinpageuk and operated it as a dedicated theater among the representative Korean theaters in the 1910s, it was confirmed that yeonhui in Gwangmudae, Jangansa, and Danseongsa during the first and second half of the 1910s had a numerical advantage over sinpageuk in terms of the frequency of performances. Furthermore, the formation of the Gyeongseong Gupa Actors' Guild was not influenced by the decline of yeonhui performances due to the popularity of sinpageuk, but rather by the fact that it was organized with the permission of the Japanese government in order to take charge of entertainment at the exhibition Mulsan Gongjinhoe that the Japanese thoroughly prepared in 1915 for the purpose of promoting the legitimacy of their colonial rule. Moreover, the ‘new and old school performances’ promoted by the Gyeongseong Gupa Actors' Guild were the sinpageuk performance by old school actors, not by sinpageuk troupes, and the ‘sinpa gaeryangdan’ (lit. new school reform troupe) organized by the Gyeongseong Gupa Actors' Guild was a measure taken in cooperation with the Gyeongseong Gupa Actors' Guild for sinpa actors who were on the verge of extinction.