Saturday, July 19, 2003


"The music begins in speech, rises to a chantlike recitative and often breaks into full-blown song. The style is hypnotic and captivating, though it takes time to attune the ear to a purposefully rough-hewn vocal timbre and the metabolism to a glacial pace. Fear not; there is time aplenty. "Heungboga," at two hours, is the shortest of the five pansori. It is also said to be the most humorous, though the humor is mostly subtle and understated."

"In the classic style of performance presented here, a lone storyteller holds forth in front of a screen, wielding a fan in one hand, a kerchief in the other. A percussionist provides spare punctuation, striking the skin or the frame of a drum and emitting grunts of exhortation. (Evidently audience members are welcome to voice encouragement, too, to judge by the hoots coming from a man behind me for a time.)(nytimes: From Korea, Simple Tales Elaborately Told in Song)

"Pansori literally means songs at a place of entertainment as "pan" signifies the place of performance while "sori" means the sound. But what exactly is a pansori? Its literal definition of songs at a place of entertainment isn't too clear."(Pansorisong)

"From the Korean words pan, meaning "performing site," andsori, meaning "song, . . . From July 16 through 20, the festival presents all five classical pansori works still in existence, prefaced by an evening of shamanistic ritual performance and a panel discussion drawing cultural connections between the two. (There's a fine line, it would seem, between a ritualistic shaman connecting the natural and supernatural worlds and the pansori singer who speaks for all the characters in the story.)"(Newsday.com - Pansori: Telling Korean Tales)

"In Pansori performances, audience participation is not only encouraged but also required. Try to listen to Choo-Im-Sae (short words or expressions expressing approval or emotional involvement) of the drummer and the audience."(Seung-Jae Moon:Samples of PANSORI)


:: note :: . . . the research that occuppied Jerzy Grotowski during his final phase of work - Art as Vehicle - was partially based on performaces or performance fragments that have survived from very early times . . . pansori . . . to converge the past cultural practices with individual "deep" experiences . . an archetypal, ahistorical, finely executed performance . . . back movement to the ancient / forward to the present at the same time . . . pansori / action . . . a project proposal . . .