2010, Vol., No.32

서연호 , Poe Baek | 2010, (32) | pp.17~52 | number of Cited : 2

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이 소론은 희곡창작과 실험적인 공연이야말로 연극 발전의 원동력이라는 점을 전제로 하여, 한일 신연극성립기의 창작담론과 영향관계를 규명해 보려는 데 목적을 두고 있다. 일본의 신연극운동은 1886년 8월 연극개량회의 결성에서 비롯되었다. 이로부터 1909년 4월의 문예협회, 같은 해 11월의 자유극장이 결성되기 이전의 시기를 신연극성립기로 볼 수 있다. 가와카미 오도지로오는 신연극의 대표적인 인물이다. 한국의 신연극운동은 1902년 협률사의 설립에서 비롯되었다. 이로부터 1920년 봄에 극예술협회가 결성되기 이전의 시기를 신연극성립기로 볼 수 있다. 임성구는 신연극의 대표적인 인물이다. 운동의 출발은 양국 사이에 16년의 차이가 있지만, 단순비교만으로는 신연극성립의 내막과 과정과 실질을 파악할 수 없다. 그러므로 당시의 창작담론과 작품공연을 통해서 구체적으로 살펴보기로 한다. 우선, 신연극의 대안으로서 연극개량론이 제기되었는데, 개량의 대상(改良對象)이 무엇이었느냐 하는 문제다. 일본에서는 가부키(歌舞伎)가 대상이었던 데 비해서 한국에서는 개량의 대상이 분명하지 않았다. 그러므로 일본의 신연극을 모방하는 것이 개량이라는 막연한 개념으로 출발했음을 알 수 있다. 가부키가 아닌 새로운 연극을 창조하려는 모색은 필연적으로 연극창작론, 희곡창작론을 활성화하고 연극논쟁을 치열하게 부채질 했다. 가부키는 에도시대에 확고한 전통을 수립했다. 그러므로 가부키에 대신하여, 과연 새로운 연극을 만들어낼 수 있을까 하는 의심은 일본 사람 누구나 지니고 있었고, 심지어는 신연극을 논의하는 사람조차도 그 가능성을 확신할 수 없는 일이었다. 그러므로 이러한 사태에 대한 강한 반동이 서구 연극에 대한 열정적인 체험과 탐구와 수용을 몰고왔다고 할 수 있다. 현재도 쉽게 가능하지 않은 해외체험과 해외순외공연, 해외유학과 해외작품의 번역 및 번안 공연을 당시에 감행한 것이 이를 입증한다. 1893년에 가와카미 오도지로오는 멀리 프랑스에 가서 프랑스의 낭만주의 연극을 관극했다. 그는 이런 연극을 통해서 스테이지 리얼리즘(stage realism)을 처음으로 실감하게 되었다. 6년 후에 다시 그가 극단을 인솔하고 미국과 유럽을 순회공연하며 체험한 것은 현지에서 일어나고 있는 자연주의와 리얼리즘 연극들이었다. 그가 애초의 동지들과 어울려 신파극을 만드는 데 가담하지 않고, 그들과 결별하여 지속적으로 사실극(寫實劇)을 시도한 것은 재차 2년 간에 걸친 유럽연극체험이 원동력이었다. 정말 값지게 얻은 지적 체험이었다. 1909년에 이전에 이루어진 서구 드라마의 번역과 번안, 희곡론의 수용 역시 주목해야 할 역사적 사건이다. 메이지정부 지도자들의 연극개량에 대한 의지는 새로운 극장을 증설하는 데 기여했다. 한국의 임성구는 동시대성(同時代性, contemporaneity)이라는 측면에서 선구적인 업적을 이룩했지만, 세계연극사라는 측면에서 동시대의 문화환경과 더불어 한계성을 지니고 있었음을 부정할 수 없다. 양식적으로 혁신(革新)의 대상이 막연하였다는 점이다. 일본 연극인들과는 달리 서양의 드라마에 대한 정보도 가진 것이 없었다. 당시 신문에 보도되는 연극담론이나 창작론은 일종의 문명개화론으로서 막연하기 그지 없었다. 그가 체험하고 알 수 있는 정보라고는 가끔 서울에 순회공연 오는 일본 신파극단들의 무대공연을 보는 것이 전부였다. 임성구의 작품제작을 도와주는 그 어떤 극장이나 자본이나 기획이나 판촉의 관행은 존재하지 않았다. 있었다고 해도, 개인적인 후원자의 범주를 넘지 않은 관계였다. 이런 측면은 동시대의 일본문화계와 현격한 차이였다. 그에게 한 작품, 한 작품은 말 그대로 악전고투의 결과였다. 당시 한일양국의 지식인들이 개화, 문명, 근대, 민권 같은 용어를 공공연히 사용하였지만 지배국 일본의 입장과 피지배국 조선의 처지는 너무도 현격했다. 임성구는 연극을 시작하는 그날부터 「집회시위법」과 「극장취체법」의 감시를 받아야 했다. 그가 말한 대로, ‘혁신적으로 조선의 현실을 표현’할 수 없었다. 역설적으로 ‘조선의 현실이 부재한 연극’으로서는 진정한 혁신에 이를 수 없었다. 원천적으로 번역극은 불가능하였고, 그의 능력에 기준한 번안극만이 가능하였다. 번역극을 하자면 번역, 대본, 연기, 무대장치, 의상, 소도구 같은 것을 전부 새로 준비하고, 해당 작품에 대한 문화이해도 전제되어야 하는데, 임성구의 입장이나 처지에서는 감당할 수 없었다. 또한 서양 희곡을 번역할 수 있는 문학가도 국내에는 없었다. 그가 일본 번안극을 자주 한 것은 신연극의 명분을 살리기 위한 최소한의 ‘사회적 발언과 몸짓’이었다. 임성구의 연극은 신파조(新派調)를 응응한 신연극이었고, 일본 가와카미류와 유사한 사실극을 지향했다. 그의 혁신단(革新團)이라는 명칭도 가와카미 극단을 모방한 것이었다.

Reformation and Police Regulation of the Public Theatre, and its Theatricalization: Before and After 1910

Woo Sujin | 2010, (32) | pp.53~80 | number of Cited : 7

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Modernity of the Revues and Musical Plays in Late 1920s of Korea

Back Hyun Mi | 2010, (32) | pp.81~118 | number of Cited : 8

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유치진의 희곡 <소>에 미친 일본희곡 <말>의 영향

이정숙 | 2010, (32) | pp.119~150 | number of Cited : 2

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유치진의 <소>와 사카나카 마사오의 <말>의 비교 연구를 통해 영향관계를 분명히 하는 일은 희곡사의 측면에서 뿐만 아니라 유치진 희곡의 성격을 규명하는데도 중요한 과정이라 할 수 있다. 사카나카 마사오의 <말>은 농민의 현실을 사실적으로 재현하는 방식이 아니라, 바보스러울 정도로 말에 애착을 가진 아버지 北積吉가 소작료 때문에 말을 빼앗기고도, 집안일도 잊은 채 말을 돌보자 이에 반발한 아들이 말을 없애기 위해 지주집 마구간에 불을 지르는 이야기이다. 표면적으로는 말에 대한 기타츠미키치의 애착을 따라가지만 이면에 이들을 불행하게 하는 원인이 농촌의 소작제에 있음을 암시하고, 파스라는 방식을 활용하여 비참한 현실을 웃음으로 풀어내며 농민의 기질을 긍정적으로 담아내고 있다. 유치진의 <소>는 말똥이의 결혼에 대한 집착을 따라가며, 그 이면에 말똥이의 소원을 좌절시킨 원인으로 불합리한 소작제가 있음을 인식시킨다. 농촌의 현실에서 소재를 가져오면서도 웃음을 적절히 활용하여 재미있게 극을 관람하게 하면서도 그 이면에 현실의 문제를 인식하도록 하고 있다. 유치진의 <소>는 사카나카 마사오의 <말>의 영향을 받은 것으로 보인다. 인물의 사용, 웃음을 표면에 드러내고 현실 문제를 배경화 하는 이러한 방식은 1935년부터 유치진이 활용하는 방식이다. 현실의 비참을 있는 그대로 그려 보이는 것이 아니라 웃음 속에서 비극을 발견하게 하는 이러한 방식은 카프 연극인들이 현실을 다루는 방식과는 확연히 다른 유치진의 리얼리즘 실천방법인 것이다.

A Study on Hwa-Rang-Won, Korea Teater in the 1930's

조정희 | 2010, (32) | pp.151~186 | number of Cited : 2

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Joo Yeong‐seop’s Internal Logic and Its Voluntary Ground in the Late Period under the Rule of Japanese Imperialism

경지현 | 2010, (32) | pp.187~219 | number of Cited : 2

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This research focuses on internal and external factors that led Joo Yeong‐seop to fell voluntarily in Japanese fascism. We derive the ground of voluntariness in his falling into Japanese fascism from Joo Yeong‐seop’s texts, and examine four scenarios written as the outcomes of his absorption into the fascism. Joo Yeong‐seop’s perception in the late period under the rule of Japanese imperialism was linked to the concept of ‘Orient’ that Japanese fascism emphasized for its ideology of the Greater East‐Asian Co‐prosperity Sphere. This perception was an extension of his original view that ‘romanticism should be pursued based on realities.’ Joo Yeong‐seop’s serious reflection on modern dramas and culture began with his negation of the Western‐style modernization of Chosun, and this brought forth romanticism that emphasizes the world of ‘imagination.’ This basis was similar in principle to what Japanese fascism pursued, which was the creation of a new world and the construction of totalitarian integrated utopia by criticizing Western modernism. After all, Joo Yeong‐seop’s romanticism and Japanese fascism were interconnected with each other through ‘negative perception of Western modernism’ and ‘imagination of ideal society’ based on the negative perception. Logics based on the theoretical intimacy between Joo Yeong‐seop’s romanticism and Japanese fascism were implemented as they were in his four scenarios. They were represented as ‘negating Western modernism’ and ‘pursuing utopia called Greater East Asia.’ In these works, Joo Yeong‐seop implemented the logic of anti‐Western fascism effectively by denying Seoul, and supported the theory of Greater East‐Asian Co‐prosperity by completing the imagined geography of ‘land‐sea‐air.’ Joo Yeong‐seop’s beginning of ‘romanticism blooming on realism’ was triggered by the negation of Western modern dramas, and consequently, enabled the negation of ‘realities’ and consequently required a new world. Through this, the ideal of Japanese fascism, which is the construction of the Greater East‐Asian Co‐prosperity Sphere, could be represented. However, the ideal world formed by the union of the ideal society pursued by his romanticism and Greater East Asia pursued by Japanese imperialism, namely, the fascist vision enclosed completely within his internal logic, was nothing but a fantasy in the real world.

A Study on Cho, Yeong-chool's play in the period of Liberation -focussing on <The Great Love>-

Park Myeong Jin | 2010, (32) | pp.221~260 | number of Cited : 9

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The aim of this thesis is to examine the history of drama in immediate post-liberation, and to analyze play of Cho, Yeong-chool. In immediate post-liberation, the progressive drama group was formed, namely "Chosun Drama Construction Headquarters". The member of this party was composed of pro-Japanese group, so many members withdrew from this organization and formed a new group, namely "Chosun Proletariat Plays Alliance". Afterwards, these two groups was integrated into a single group, so-called "Chosun Plays Alliance". Yeong-chool played an active part in these groups. <The Great Love> is a play staged in "The 2nd Theater Festival of celebration for 3.1 Movement" hosted by "Chosun Plays Alliance". This paly adapted the story of "Chunhyangjeon" to "Donhak Revolution". And this play shows a melodramatic plot full of passion, anger, frustration, sentimentalism. So this play was criticized bitterly by many drama critics, nevertheless this play is necessary to analyze on the popularity and demagogy. "Chosun Plays Alliance" strenuously insisted that the goal of progressive play should be a popularity. <The Great Love> used sentimental mood and melodramatic plot to maximize a effect of demagogy. But these purposes was achieved through a oblivion of memory in the Japanese colonial period, and oblivion of value of the feminine gender. We can say that <The Great Love> allowed probability, excessive expression of emotion, romantic sentimentality, and overflow of a vulgar taste. This shows how progressive drama group and Cho, Yeong-chool stired up the people to revolution. This implies that inflammatory play in immediate post-liberation could not but accept a vulgar taste in order to attract voluntary participation from people in political society. In conclusion, we can regard <The Great Love> as a propaganda play mixed with melodramatic taste.

The Developing Process of the Radio Drama from 1960's until the beginning of 1970's.

Keum-sun Yeun | 2010, (32) | pp.261~309 | number of Cited : 8

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Study on the Status and the Meaning of the 'Marginal Man' in Dramas on the Division of Korea

조보라미 | 2010, (32) | pp.311~344 | number of Cited : 17

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<진오귀>에 미친 카라 주로(唐十郞)의 영향

Kim, Jae Suk | 2010, (32) | pp.345~378 | number of Cited : 5

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이 논문은 <진오귀>의 마당극적 특성을 좀 더 명확하게 설명하기 위한 목적을 가지고 있다. 서양식 액자무대극에 전념하고 있던 김지하가 <진오귀>에서는 관객석과 무대 사이를 의도적으로 소통시키고 있는데, 그러한 새로운 시도를 하게 된 계기가 「상황극장」(일본)과 극회 「상설무대」(한국)의 합동공연이었음을 살펴보았다. 1972년 3월에 서강대학교 야외공연장에서 열린 합동공연은 당시 일본에서 언더그라운드 연극의 기수로 주목받고 있던 카라 주로(唐十郎)가 5명의 일행과 함께 건너옴으로써 이루어졌다. 카라 주로는 객석까지 포함하여 야외공연장 전체를 무대로 활용하는 낯선 공연방식의 <두 도시 이야기>를 선보였다. 서양의 액자무대극인 <금관의 예수>와 그 공연을 비교해 보면서, 김지하는 동적이며 유연한 특성을 지닌 이러한 연극이 민중을 계몽하는데 유용할 수 있다는 점을 깨달았다. 실내극장을 벗어나 텐트극장에서 공연하면서 새로운 관객을 창출해낸 카라 주로의 연극에서, 김지하는 관객을 찾아다니며 공연했던 가면극 공연단체나 남사당패의 열정을 느낄 수 있었다. 그 다음 해에 김지하는 <진오귀>를 통해 그러한 깨달음을 실천하였다. 그는 개방된 무대를 기본으로 하면서, 관객과 소통을 통해 공동체적 유대를 강화하는 가면극과 판소리의 공연자질을 적극적으로 작품에 끌어들이는 실험을 하였다. 그 결과 <진오귀>는 일관성을 갖춘 이야기를 인과관계가 약한 느슨한 극짜임으로 다루어내고, 무대와 관객석 사이에 존재하고 있는 ‘제4의 벽’을 의도적으로 제거하여 공동체적 유대감을 강화 시킨 작품이 되었다. 마당극의 중요한 특징으로 언급되는 공연 기법의 원형이 마련된 것이다.

Settle Dongil textile company’s affairs

임지희 | 2010, (32) | pp.379~412 | number of Cited : 3

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A Study on Narrative of Jazeonge -With Emphasis on Deductive Narrative Plot-

Suk Kyung Kim | 2010, (32) | pp.413~448 | number of Cited : 4

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Until today, studies on Oh TaeSeok’s Jazeonge have mostly been focused on analyzing the thesis or the mental conditions of its characters. On the other hand, the current study was aimed at clarifying that the true value of Jazeonge lies on its interesting narratives and that they are founded on the deductive narrative method. It also focused on analyzing the narratives to clarify why some criticize it for being to abstruse while others call it a masterpiece. The deductive narrative method dominates the entire narratives of Jazeonge and the principle of deductive method penetrates the core of its plot. However, Jazeonge cannot be discussed in the category of typical traditional deductive narrative writings. In principle, it is utilizing the deductive narrative method, but its application of that method does not correspond to how other traditional deductive narrative writings apply it. Strictly speaking, the author is “altering” the deductive narrative method. Above all, Jazeonge satisfies deductive narrative’s essential condition of “the desire of pursuit of intelligence from ignorance” and follows the basic plot of deductive narrative. It also complies with the foundation of deductive narrative by placing the three character elements of deductive narrative in a triangular arrangement. On the other hand, this piece is discussing a “common event” rather than “crime” and is explored by a passive and unprofessional investigator. The exploration is carried out by concurrent representation rather than the ‘event’ being an absent story and characters are prevailing over events in the exploration. Also, stories are approached from multiple perspectives and the solution is delayed to end the story without a definite conclusion. This is how Jazeonge is differentiated from other traditional deductive narrative writings. However, the purpose of the current study was not clarifying such difference, but clarifying the characteristics of Jazeonge that were given to its narratives by the altered deductive method. If so, what is the dramatic strategy of the deductive narrative method in Jazeonge? First, Jazeonge, despite that it is discussing a rather serious issue, has become popular among the general public due to its deductive narrative plot. Deductive narrative is basically popular. It attracts the public by stimulating their curiosity to search for the solution. Jazeonge also attract the public with its deductive narrative plot. It suggests an issue, the characters in search of a solution, and encourages the readers to participate in the search to immerse them in the story. Second, Jazeonge, although it has the characteristics of deductive narrative, it has a dramatic strategy that is different from that of traditional deductive narrative. First, the ‘event’ is discussed in concurrent representation rather than as an absent story for the audience to experience the theatricality. This plays a critical role in keeping up the interests of the audience. The investigator who is in the position equal to that of general audience and the open conclusion contribute to deeper engagement of the audience, being the dramatic strategy that is much more advantageous to theater where audience participation is critical. In addition, it makes the event exist for the characters and diversifies the focus for the audience to stop consuming deductive narrative as a disposable item. In other words, it enriches its artistic implications by contemplating not only the solution of deductive event, but also the multilateral network of theatrical meanings. This strategy is where it is distinguished from traditional deductive narrative writings and what makes Jazeonge a unique narrative writing.

A Study of Lee Kangbaek's 'Work(œuvre)'

Eun-Ha Lee | 2010, (32) | pp.449~475 | number of Cited : 3

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This thesis is intended to discuss the interrelationship between literary works of Lee Kangbaek and his alregory technique. Lee Kangbaek was respected figure in the Korean theater who showed various literary value since 1970s by being christened as a 'writer of allegory'. He had established a strong identity, defining himself as a dramatic literature writer. He expressed his views on play engaging in discussions with Lee Yuntaek, a producer of Feeling, like Nirvana(1998). His views on play corresponds with those of "œuvre" which conflicts with the concept of "Texte" by Roland Barthes. The œuvre of Roland Barthes means a series of signs which reveals simplified and stablized meanings. œuvre implies the construction of self-imposed world as an esthetic unified team, at the center of it exists "writer". œuvre should simplify forms of sense and voice, controlled by a writer, and that is the characteristic of œuvre in the play of Lee Kan-baek. Allregory includes ways to personify abstract concepts through personification. In that sense, this work also can be categorized as allegorical drama. Playwriters tried to manifest the meaning of their works through allegorizing characters as a form of conceps. He tried to implement his objective of writing, the combination of confliction between forms, contents and its spirits through resolving the conflicts of producers of statute of Buddha. The metaphorical allegory requires an intellectual process to extract meanigns proposed by the writer by the spectators. So, it seems like that readers can interpret the meanings of the text arbitrarily, but the backdrops of each scences are positioned by the writer's thought. Therefore, readers cannot but accept the meaning suggested by the writers as a final conception. Allegory is a rhetoric in which the original concept and its supporting concepts corresponds each other. Since the meaning of the play is manifested in the one-to-one correspondence, the writer's intention can be clearly understood in allegorical rhetoric. And since the meaning of the writer can be equalized with the universal truth, the method coincides with the oeuvre of Lee Kang-baek's play. Through the personification of concepts in Feeling, like Nirvana(1998) the voices or sence of the characters can be controlled harshly by the writer's intention. So, it clearly describes the characteristics of monophony play. Lee Kangbaek's metaphorical allegory manifests his views of literature, œuvre.

A Study on Lee Kyung Hee's way of Writing Dramas

Kim,Yun-Jeong | 2010, (32) | pp.477~503 | number of Cited : 0

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A Study of TV Drama <Sa'yuk-shin>, aired on North Korea's Joseon Central TV

Jinheon Youn | 2010, (32) | pp.505~547 | number of Cited : 2

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Drama <Sa'yuk-shin>, produced by Joseon Central TV of North Korea in 2007, and recently aired on KBS, is the first drama ever conceived under the joint effort of South and North Korean broadcast stations, and it also provides us with an opportunity to look into the historical perspective of North Korean history fictions. This drama was based upon Rim Jong Sang's <Sa'yuk-shin>(Originally titled as <Sak'pung>), and portrays the events that began with the birth of king Danjong, then unfolded with the Gye'yu-year purge and the Byeongja-year criminal case. Rim was awarded with the Kim Il Seong prize, the highest honor for literary figures in North Korea. In his novel, he presented Seong Sam Mun as the main character, and highlighted many things, such as his romance with a Gisaeng figure named Jo Jeong Shim, the love affair between his oldest daughter and Shin Suk Ju's son Shin Jeong, and his love for his five-year old youngest daughter. In short, he added a personal touch to the Seong Sam Mun character, and tried to highlight the character's own agony and sacrifice. Based on this novel, drama <Sa'yuk-shin>, scripted by Park In Seo and directed by Jang Yeong Bok, amplifies Rim's intentions, and portrays the Six Martyred Vassals' inner conflicts and pain with great detail. For example, Seong Sam Mun has a bad relationship with the cunning Han Myeong Hwe who also had an inferiority complex, yet such bad relationship takes a worse turn when they both come to share a relationship with Jeong So Yeon, the illegitimate grand daughter of Jeong Mong Ju. This whole situation is a bit exaggerated, yet it is designed to add a human aspect to Seong Sam Mun's 'honorable' decisions. This kind of method is usually employed in portraying protagonists in North Korean literature. Most interesting characters are Jeong So Yeon and her associates. After going through some difficulties she finally becomes a Gisaeng figure. She was the reinvention of the Jo Jeong Shim character in Rim's <Sa'yuk-shin>. Yet she also serves as a catalyst for setting off the triangular relationship among herself, Seong Sam Mun and Han Myeong Hwe. It is a stark departure from the novel version's Seong Sam Mun, as in that version he kept his feelings to himself, in a fashion similar to that of Shilla dynasty's Kim Yu Shin who had to bury his feelings toward a female named Cheon'gwan. Jeong was essentially a low-born character as she was established as the illegitimate grand daughter of Jeong Mong Ju, but her family members on her mother's side are described as components of a tightly knit family, and other characters like Na Gil Seok or Gob-dan'i, and their associates like Ha Cheon Mok or Mu'ih, all serve important roles of supporting the main character Seong Sam Mun with their own loyalty and kindness, while also keeping in touch with the Han Myeong Hwe party. They are not randomly created characters, and in fact were carefully crafted to serve the main theme of <Sa'yuk-shin>. As much as their support and assistance are highlighted, it becomes more possible for the readers to identify the six martyred vassals as honorable governmental officials who had support from the public.

Study on the ‘Comedy’ in TV Drama <Nae-jo-eui Yeo-wang>

Yun, Suk-jin | 2010, (32) | pp.549~573 | number of Cited : 8

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This study is a contemplation of the comedy in TV dramas through the <Nae-jo-eui Yeo-wang (Queen of Housewives)>. Until today, the study on the ‘comedy’ in comic dramas, especially in TV dramas, had not been done properly. Under the academic climate which is oriented toward serious human science and literary background, regardless of the East of the West, the comedy has been considered as culturally inferior in comparison to the tragedy. It has been the reason for us to be biased by the thought that ‘TV drama’ is not an art, but just for an entertainment, furthermore, the ‘comedy’ merely aims at laughter discounting any sincerity in it. The TV drama <Nae-jo-eui Yeo-wang (Queen of Housewives)> satirically portrays a survival story of a housewife, who got rid of her dream of becoming a ‘Cinderella,’ and became a ‘Princess Pyeong-gang’ due to her husband, who has a super brain, but can not adapt himself to the society. The subject of the story, in which the jobless breadwinner’s challenges to get a job, and to survive within the organization is portrayed in the prospect of the housewife’s support, is as unrealistic as the typical characters and exaggerated dramatic situations. However, in spite of the unrealistic caricatures and exaggeration, the drama appeals to the viewers by starting with the subject matters that are very likely to happen in everyday life. As the result of the study, it has been proved that the comedy <Nae-jo-eui Yeo-wang (Queen of Housewives)> comes from the typical characters and the exaggerated dramatic situations, and it also has been proved that the drama provide the viewers with a space to have fun, through the production techniques: various ways of ‘making unfamiliar,’ and breaking down the boundary between dramatic situations and the reality. TV watching activity as an ‘amusement with laughter’ basically induces viewers’ reflection. That is why the viewers feel the ‘satire’ and the ‘humor’ at the same time from the comedy <Nae-jo-eui Yeo-wang (Queen of Housewives)>. In conclusion, the <Nae-jo-eui Yeo-wang (Queen of Housewives)> deserves a recognition as the drama that demonstrated the genuine quality of comedy in the sense of ‘satire and humor’ by resolving the desperate reality of Korea, in which men strive to get a job under the unstable employment environment with the unsolved problems of irregular employment, and to survive the struggle for existence within the organization, in the way that gives viewers laughter with tears.

KJCKorea
Journal Central

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

2010, Vol., No.32