A Comparative Study on The Role of the Costume in Beijing Opera <Okdangchun> and Korean Traditional Opera <Chunhyangjeon>

The purpose of this study is to examine performance costumes of the Beijing opera Yutangchun and the Korean traditional opera Chunhyangjeon and compare the roles of costumes of the hero and heroine according to the composition and content of both plays. As being the play of wit and beauty, the Peking opera Yutangchun and the Korean traditional opera Chunhyangjeon are similar in plot, narrative structure and play composition but different in the heroine’s position, type of hardship, and aspect of embodied affection from each other. They are also different in types and roles of main characters’ costumes according to the changes of composition of play. Heroine’s costumes: In Yutangchun, Yutangchun wears light blue seupja in both parts of encounter and parting, indicating that embodiment of the two main characters’ affection does not make an effect to the changes of costumes. She wears yeojoeui and yeodanhwapi in the part of hardship and reunion, respectively, indicating that the heroine’s ascent of status plays a key role in the changes of costumes and through this it plays as a conflict resolution. In Chunhyangjeon, Seong Chun-hyang wears a yellow jeogori and a red skirt in the part of encounter and a green jeogori and a red skirt in the part of parting, indicating that embodiment of the two main characters’ affection plays a key role in the changes of costumes. In the part of hardship and reunion, she wears a white jeogori and a white skirt, which aggravating conflict. Two main characters’ affection does not make an effect on the changes of costumes. He wears a red pi in the part of hardship, which expresses his Hero’s costumes: In Yutangchun Wang Geum-ryong wears black seupja in both parts of encounter and parting, indicating that embodiment of the status of one who won the first place in a state examination, and red danryongmang, which expresses his status and authority higher than the part of hardship and indicates a gradual resolution of conflict of the part of hardship. In Chunyangjeon, Lee Mong-ryong wears koeja and bokgun in the part of encounter and parting, providing an image of an unmarried young man. He wears shabby clothes and a torn gat, which ascending conflict, and a nansam and a bokdu in the part of reunion, acting as a role of dramatically solving conflict and emphasizing happiness.