2004, Vol., No.20

The Journal of Korean drama and theatre 2023 KCI Impact Factor : 0.77

pISSN : 1225-7729 / eISSN : 2713-8453
https://journal.kci.go.kr/kdrama

Modern poetic drama of Korea made a new start in the 1920's. However, It was not until the 1960's that the poetic drama was finally established as one of the literary genre. This development of Korean poetic drama was greatly influenced by several factorsthe rise of a variety of experimental mind concerning the poetry, the deep interest on T. S. Eliot, the spread of small theatrical movement at that time, the uplifted atmosphere of korean literary world on the occasion of the 400 birth anniversary of William Shakespeare. The poet Changho was a central figure of korean movement of poetic drama in the 1960's. <Surimoi>, appeared first on stage in 1968, was his most laborious work which showed a revolutionary change in both from and substance. Strikingly different from other poetic drama at that time, <Surimoi> had the following distinctive characteristics: First, paying careful attention to the rhythm of line, it tried to revive and enhance the auditory function that was lightly treated and ignored in the past. Second, most of Korean poetic drama at that time were still remained as a piece of stage properties dealing with simple episode and anecdote. But <surimoi> was a fullscale multi-act poetic drama whose performance appeared on the big stage. Without getting together with other stage show, it made independent pay performance possible. Third, it mobilized a variety of methods of expression which dancing and singing were harmoniously intermingled. Fourth, it had a conflicting structure and distinctive coordinate concept, thus appealing to the emotional feelings of audiences. In these senses, <Surimoi> was significantly noticeable work reflecting a new direction of Korean poetic drama in the 1960's.

970s' situations which a lot of foreign theatres in translation were produced are noteworthy in the history of Korean modern theatre. Many scholars who majored in foreign theatre began careers as critics and translators. In this period, four theatre magazines were published. Two major theatre magazine of them are very important ; Theatre Criticism and Korean Theatre. Statistics shows that foreign plays translated into Korean totals 56 and that they were written by 35 playwrights of 10 nations. And those that were produced totals 640 of 15 nations. More than half of these productions were introduced from U.S.A. and England. these countries, including France and Deutschland, occupied 86.9% of all. This shows that Korean Theatre were almost entirely under the strong influences of western countries, especially two English-speaking countries, after 1945(Korean Liberation Year), when a lot of American Cultures had flowed into Korea. In the late of 1970s, this situation which was preferred plays in translation was clarified. It depended on several real conditions. First, expansion of Seoul city population and economic growth helped people to experience a lot of cultures including theatre, and thus stimulated them to go to theatre. Especially most spectators are women in University. Second, as stated above, many scholars majored in foreign theatre began careers as critics and translators. Third, political situations suppressed freedom of expression turned acting troupe toward safety of production. So It preferred foreign plays in translation to new Korean plays by contemporary playwrights.

Psychoanalytic Reading on Korean Modern DramasThis article aims to do two things: to introduce the reader unfamiliar with psychoanalytic criticism to a range of material in the area; and to provide, for those with defined interests in psychoanalysis, an accessible anthology of some of the most interresting and exiting Korean modern dramas. The texts of Jang Jeong-il(장정일), especially in <Chamber Music(실내극)> and <The Mother(어머니)>, treat the separpation anxiety from the mother's whole body. In his texts, the figuration of Great Mother is dorminant. The texts of Lee Gang-baek(이강백), especially in <Bubble(물거품)> and <As You See the Flower in the Mid-winter(동지섣달 꽃 본 듯이)> treat the Great Mother and his son. In his texts, the figuration of Great Mother is presented as Buddist or ancient mythological figures. The texts of Oh Tae-seok(오태석), especially in <The Amnion and the Placenta(태)> and <The Intimacy between Father and his Son(부자유친)> treat the complex coming from parents and their son.