{"schema":"record/v1","id":"art_01M5MD4XJQXJKJ310ZZRK6A6EP","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What do the open sources say about the gwangdae narrator-singer's craft criteria and the tension between improvised adaptation and a fixed text, and which failure modes (relevance, freezing, over-entertaining) follow for a solo screen or audio storyteller?","summary":"A 19th-century theorist (Sin Jaehyo, via the thesis) named four conditions for a gwangdae: appearance/presence (inmulchire), narration (saseolchire: dramatic, literary, clear to listeners), vocal quality (deoneum) and gesture with props (neoreumsae). The same thesis shows a modern competition where judges weighed original essence, creativity and entertainment, and an expert warned that a filial-sacrifice story may not move modern audiences. Yates-Lu shows the opposite pressure: preservation systems fix lineages, and scholars dispute whether a stabilised version is the 'original', with one scholar arguing differences simply reflect a narrative not yet stable. Together they frame an open tension between adapting to the audience and preserving a text; none of the sources tests either for audio or screen use.","status":"active","body":{"text":"A 19th-century theorist (Sin Jaehyo, via the thesis) named four conditions for a gwangdae: appearance/presence (inmulchire), narration (saseolchire: dramatic, literary, clear to listeners), vocal quality (deoneum) and gesture with props (neoreumsae). The same thesis shows a modern competition where judges weighed original essence, creativity and entertainment, and an expert warned that a filial-sacrifice story may not move modern audiences. Yates-Lu shows the opposite pressure: preservation systems fix lineages, and scholars dispute whether a stabilised version is the 'original', with one scholar arguing differences simply reflect a narrative not yet stable. Together they frame an open tension between adapting to the audience and preserving a text; none of the sources tests either for audio or screen use.\n\nCurator qualifications: Key claims verified by locating the passages, since the producer's evidence rows carry no excerpts: the four gwangdae elements in the thesis, and Yates-Lu's account of preservation-vs-popularisation and the Choe Donghyeon 'not yet stabilised' argument. The scholarly disagreement is reported by Yates-Lu, a secondary account, and is correctly labelled unreconciled. 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The same thesis shows a modern competition where judges weighed original essence, creativity and entertainment, and an expert warned that a filial-sacrifice story may not move modern audiences. Yates-Lu shows the opposite pressure: preservation systems fix lineages, and scholars dispute whether a stabilised version is the 'original', with one scholar arguing differences simply reflect a narrative not yet stable. 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The same thesis shows a modern competition where judges weighed original essence, creativity and entertainment, and an expert warned that a filial-sacrifice story may not move modern audiences. Yates-Lu shows the opposite pressure: preservation systems fix lineages, and scholars dispute whether a stabilised version is the 'original', with one scholar arguing differences simply reflect a narrative not yet stable. Together they frame an open tension between adapting to the audience and preserving a text; none of the sources tests either for audio or screen use.\n\nCurator qualifications: Key claims verified by locating the passages, since the producer's evidence rows carry no excerpts: the four gwangdae elements in the thesis, and Yates-Lu's account of preservation-vs-popularisation and the Choe Donghyeon 'not yet stabilised' argument. The scholarly disagreement is reported by Yates-Lu, a secondary account, and is correctly labelled unreconciled. 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