2011, Vol., No.34

The Study on the Modernity and the Premodernity of Toweolhoe, the Theatre Group’s Performances

Kim, Jae Suk | 2011, (34) | pp.13~47 | number of Cited : 21

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The aim of this essay is to evaluate the role of Toweolhoe, the theatre group in forming the Korean modern drama. The activities of Toweolhoe can be divided into four periods. The first is the period of the performances of July and September in 1923, when Toweolhoe had the standpoint that the performance of typical Western modern dramas could contribute to establishing the colonized Joseon's modern drama. The second is the period of January to July in 1924, when Park sunghee were active as the representative of theatre group. Park sunghee found that the Western modern drama didn't suit the Korean's mood and noting that audience preferred the works with sad mood, he tried to combine these works with the reality of colonized Joseon. The third is the period of April in 1925 to February in 1926, when Toweolhoe operated Kwangmoodae as the theatrical company system. Park sunghee rented the theater and used it, following the example of Japan's Little Theatre Chukichi but he had to perform too many works to maintain the theater. During this period it is important that they gave attention to utilizing the traditional materials, performing Chunhyangjeon. The fourth is the period of the comeback performance of the October in 1928 to the last. During this period, there are two valuable works. One is Lee Daegam, Manghal Daegum and it has the significant meaning in terms of the dramatization of traditional materials. The other is Arirang ridge in which the reality of the poor peasantry is represented as sadness but hope is never given up. It has the value as the archetype of colonized Joseon's social drama. In the studies up to now, they considered Toweolhoe, the theatre group as the popular theatre group and said that it had little contribution to forming the Korean modern drama. However thanks to Toweolhoe, the theatre group, it was possible to know the audience's response to modern dramas in colonized Joseon and on the ground of this, it was possible to form the archetype of modern drama of colonized Joseon which contains the content that they tried not to lose hope despite their harsh reality.

A study on the repertoires and the aesthetics of the format on the popular plays in the half 1930s

kim nam-seok | 2011, (34) | pp.49~76 | number of Cited : 2

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A Study on the Romanticism of Yoo Chi-Jin

shim woo il | 2011, (34) | pp.77~97 | number of Cited : 3

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A Study on the Change of Song Young's Recognizing the Reality After the KAPF Dispersal -Focus on History Material Dramas During the Japanese Colonial Period-

LeeSeunghyun | 2011, (34) | pp.99~126 | number of Cited : 7

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A Study on the Play Activity of the Korean Organization -focus on the Nation group and Theatrical group in the Northeast Asia of the Japan Occupation-

Keum-sun Yeun | 2011, (34) | pp.127~190 | number of Cited : 8

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한국전쟁기 유치진의 역사소재극과 민족극 구상

Lee Jeong Sook | 2011, (34) | pp.191~222 | number of Cited : 3

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Hamlet as an epic 5ㆍ18 and Ki Kukseo's position in Korean theatre history -focused on Ki Kukseo's Hamlet series-

Ock-Ran Kim | 2011, (34) | pp.223~266 | number of Cited : 9

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The Relation of the Son's growing-up story and Theatre through seeking for Mother -<Like the flowers in the winter solstice>-

KIM MANSU | 2011, (34) | pp.267~289 | number of Cited : 1

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Anxiety of 1990s and Terror of Whispering Corridors

Arum Song | 2011, (34) | pp.291~324 | number of Cited : 10

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When describing hit movies of a certain era, senses of the audience living in that era occupy an important place. When audience watches the movie, it means that they enjoy the images by "watching" the movie instead of simply following the story, and "watching" here means a behavior of actively watching by connecting images in the movie with characteristics of images captures by the audience on a regular basis. In other words, it can be explained as something that meshes and moves along with senses of the audience who can enjoy it. This writing, which has been written with such views as focus, is a contemplation on terror creation methods of Whispering Corridors (1998), which was a big box office hit by skillfully corresponding with a sense of 1990's 'anxiety'. Whispering Corridors brought many audience to the theater when it was released in 1998, and it was a flare that signalled the resurrection of Korean horror movies that were without a pulse, and a work that showed the grammar of changed Korean horror movies. Compared to previous Korean horror movies, the biggest difference of Whispering Corridors is that it emphasizes anxiety. 1990s was studded with things that threaten individuals just as much as an expansion of popular culture that individuals can enjoy, and those things got into daily lives through incidents, incident reports and reenactment programs that presented criminals and ghosts. In such ways, anxiety detected in bedrooms settled down in senses of consumers through recognition methods based on individual's perception experience. Among them, Whispering Corridors draws terror by continuing the time of anxiety through the screen's management methods and sounds. Also, unlike previous horror movies, terror that is felt from setting familiar spaces and turning them over is done within the method of highlighting fear. Unlike other Korean horror movies that induced terror by suddenly introducing ghosts, Whispering Corridors was revealing terror by a totally different method. Also, such change can be seen as an interesting aspect revealed from senses enjoyed and experience within 1990s.

A Study On The Text's Strategy Of Drama Welcome To DongmakGol

Seo MiJin | 2011, (34) | pp.325~365 | number of Cited : 6

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

2011, Vol., No.34