이 논문은 두가지 성격으로 완성된 것이다. 먼저 18~9세기 서산출신 명창 고수관의 삶과 예술세계를 점검하였다. 고수관은 서산 고북면 출신으로 중고제 명창 가운데 대표적 인물이다. 고송염모라고 순서가 매겨지는 것에서도 알 수 있듯이 판소리가 양반좌상객을 맞으면서 이른바 상승되던 시기에 양반층에서 가장 주목받은 명창이다. 고수관은 특히 <춘향가>를 잘 부른 명창으로 알려져 있다. 그의 행적은 서산과 홍성, 공주, 대구, 서울 등지를 오가며 활약하였다. 그의 생몰연대는 대체로 다음과 같이 추정된다. 이 논문에서 고수관은 이른바 지식인 광대에 속하는 인물이라는 점을 밝혔다.
한편 이 논문은 고수관의 판소리가 현재적 의미로 기능하기 위하여 서산 내포제 판소리 복원과 콘텐츠화 가능성에 관하여 모색하고 있다. 서산 내포제 문화의 전반적 면모와 함께 명창 고수관이 차지하는 위상과 그의 현재성 복원에 관심을 가지고 논의를 진행하였다. 이 문제는 고수관 개인의 행적이나 예술성과 함께, 서산을 중심으로 하는 내포제 문화권에서 배출한 명창들이 일정하게 하나의 카테고리를 형성하고 있다는 점과 연결할 수 있다. 고수관과 함께 고려할 명창으로 방만춘이나 방진관, 심정순, 심상건 등으로 이어지는 판소리 명창들이다. 이들을 모두 중고제 명창이라고 비정하기는 사실 어려운 문제이다. 그렇지만 이들이 내포지역을 기반으로 성장하고 활동하였다는 사실만으로도 현재적 관점에 하나의 현상으로 이해할 수 있다. 현재 내포제 혹은 중고제 판소리의 명맥은 사라지고 없으나 그 아우라는 짐작할 수 있다. 그것을 오늘의 의미있는 문화체계로 콘텐츠화하기 위한 방안을 모색하여 보았다.
This paper will be completed with two main themes. The first goal of the paper is to examine the life of Master Go Soo-Gwan from 18th and 19th century and the region of Seosan, and his life of art. Go Soo-Gwan is from Gobukmyun of Seosan, and he is one of the most symbolic figures of Junggoje Tradition. As the order of "Gosongyeommo" was named, it is evident that Go was the most prominent of the masters, in the time when the noble class was gradually opening up to enjoying and sponsoring Pansori. Go Soo-Gwan is especially famous for his mastery of <Chunhyangga>. His famous stages of performance include Seosan, Hongseong, Gongju, Daegu, and Seoul. His time of birth and death could be conjectured as such. In this paper, it is also shown that Go Soo-Gwan is one of the intellectual entertainer. This paper also seeks the possibility to resurrect Go Soo-Gwan and his Seosan Naepoje Tradition as a live culture content. Seosan Naepoje tradition is the main theme of the paper, along with Master Go Soo-Gwan's place in it and probability to reconstruct it in the present. All can be linked into Go Soo-Gwan's personal life and the style of his arts, and the fact that all of the masters in that tradition form a category. Bang Man-chun, Bang Jin-Gwan, Sim Jung-soon, and Sim Sang-gun is the other names to be considered in this research. It is a stretch to fit them all into the category of Junggoje, but it is possible that we could reconstruct Junggoje from their activites, since they are all grown from the influence of the history of the region. The tradition of Naepoje, or Junggoje, is vanished, but its aura is very evident. This is the reason that we seek to turn them into cultural content.
This paper will be completed with two main themes. The first goal of the paper is to examine the life of Master Go Soo-Gwan from 18th and 19th century and the region of Seosan, and his life of art. Go Soo-Gwan is from Gobukmyun of Seosan, and he is one of the most symbolic figures of Junggoje Tradition. As the order of "Gosongyeommo" was named, it is evident that Go was the most prominent of the masters, in the time when the noble class was gradually opening up to enjoying and sponsoring Pansori. Go Soo-Gwan is especially famous for his mastery of <Chunhyangga>. His famous stages of performance include Seosan, Hongseong, Gongju, Daegu, and Seoul. His time of birth and death could be conjectured as such. In this paper, it is also shown that Go Soo-Gwan is one of the intellectual entertainer. This paper also seeks the possibility to resurrect Go Soo-Gwan and his Seosan Naepoje Tradition as a live culture content. Seosan Naepoje tradition is the main theme of the paper, along with Master Go Soo-Gwan's place in it and probability to reconstruct it in the present. All can be linked into Go Soo-Gwan's personal life and the style of his arts, and the fact that all of the masters in that tradition form a category. Bang Man-chun, Bang Jin-Gwan, Sim Jung-soon, and Sim Sang-gun is the other names to be considered in this research. It is a stretch to fit them all into the category of Junggoje, but it is possible that we could reconstruct Junggoje from their activites, since they are all grown from the influence of the history of the region. The tradition of Naepoje, or Junggoje, is vanished, but its aura is very evident. This is the reason that we seek to turn them into cultural content.
