2012, Vol., No.38

劇壇 ‘藝星座’の＜カチューシャ> 公演に関する研究 A Study on Katyusha of Yeseong-Theatre

YUN MINJU | 2012, (38) | pp.11~45 | number of Cited : 9

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「예성좌」의 <카추샤> 공연은 1910년대 한국 연극계가 신파극에서 신극으로 변화해 나가는 지점을 포착하게 해주는 ‘과도기적 근대극’이라는 시각에서 주로 평가되어 왔다. 그러나 이러한 판단이 다분히 신극인들의 입장에서 ‘신극의 성취’라는 시각으로 재단되었다는 사실을 지적하지 않을 수 없다. 그로 인해 <카추샤> 공연을 다루는 연구의 대부분은 미숙한 극대극적 성취를 비판하는 것에 맞추어져 진행되어 올 수밖에 없었다. 본고에서는 이러한 단정적인 판단을 잠시 유보하고, 「예성좌」의 <카추샤> 공연이 실제로 어떠한 공연이었는지를 먼저 살펴 이 공연에 대한 보다 섬세한 이해를 도모해 보고자 한다. 처음부터 과도기적 근대극으로 규정한 뒤 근대극적 성취 여부를 따지는 것보다, 이 공연이 이루어진 배경을 이해하여 공연의 성격을 확인하고, 이후 대중문화 전반에 끼친 영향력을 확인함으로써 그 정당한 연극사적 의미를 부여해 주는 것이 바람직하다고 보기 때문이다. 그런 의미에서 본고는 <카추샤> 공연이 이루어진 맥락을 따져 공연의 성격 및 특징을 밝히고, 후속 작품과의 연결성을 고려한 구체적인 영향 관계를 살피는 실증적인 연구를 시도하고자 하였다. 이러한 접근을 통해서 <카추샤> 공연의 특징과 대중문화적 파급력을 확인해 볼 수 있었다. 우선 <카추샤> 공연은 「예성좌」가 신파극계의 주류적 위치를 보다 확고한 것으로 만들기 위한 방법의 일환으로 일본의 신극 <부활>의 레퍼토리를 적극적으로 차용한 공연이었으며, <부활>의 대중연극적 속성을 적극적으로 활용하여 1910년대 신파극 시대에 적합한 대중공연물로 정착시켜 나갔다는 사실을 밝혀볼 수 있었다. 그리고 후속 작품과의 실제적인 영향 관계를 살펴보았을 때, <카추샤> 공연을 계기로 ‘카추샤 이야기’가 대중적으로 큰 인기를 얻게 되었고, 이것은 이후에 『부활』 관련 번역소설이나 연극 공연 등의 인접 대중문화에 지속적인 영향을 끼쳤다는 사실이 드러났다. <카추샤> 공연이 단발성으로 끝난 신극 시도였다는 표면적 진실 이면에 숨겨진 공연의 영향력과 파급력을 실제로 확인해 볼 수 있었다.

Understanding of Media in Yoo Chi-jin’s Drama Theory and its Relationship with the Structure of Feeling in 1930s Theater

Lee Kwang ouk | 2012, (38) | pp.47~90 | number of Cited : 10

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This essay mainly studies Yoo Chi-jin`s early dramas and criticisms in order to examine the transformation of realism theory as a method for expressing his understanding of tragedy. The core of Yoo Chi-jin`s early drama theory was based on Romain Rolland’s work in Drama for the People, which presented the progressive drama movement that is performed outside of the field of cultural industry. However, because Yoo’s artistic activities became gradually based in the indoor theater, he became distant from the ideal open-space public form of ‘drama for the people’. Nevertheless, Yoo Chi-jin did not give up pursuing the ideal of the ‘drama for the people’ even in the compromised form that was the indoor theater, and contemplated on the differences between drama and cinema - the rival mediums of indoor theater during the colonial era. In his theoretical works that came out of this contemplation, he emphasized the concept called ‘popularity of drama’, and this concept provided for the medium aesthetics that could only be attained from theater drama. Because he accepted the discourses based on realism as the primary target for the modern drama, Yoo Chi-jin valued the tragic representation. Yoo’s early drama represented the tragedy of Chosun in the colonial era, because it took to sketching the dark side of society as frankly as possible. But most importantly, Yoo focused on the tragic representation because it could evoke the emotional communications that can coincide with his understanding of the drama aesthetics. Also, the fact that his play Tomak (the Mud hut) was published and performed when the ‘tomak’, which is a kind of a housing for the poor, came to be regarded as important social symbol, could be the evidence for his concerns about the far-reaching social powers evoked by the topical material. But Yoo’s contemporary audience of Keukyeon (an academic circle for the study of dramatic arts), which was an organization of mainly urban-middle class intellectuals, were psychologically distant from the images of poverty in the country that were represented on stage, and Yoo’s reconsideration of his former works shows his dissatisfaction with the result of the tragic communication that he had hoped for. Primarily, Yoo felt that the trouble of communication stemmed from the problem of Keukyeon`s audience who could not accept Yoo’s representation of tragedy as their own. But the more fundamental problem came from Yoo’s naturalistic and superficial dramaturgy, and this can be seen as the problem of textualism. This problem brought to the foreground the audience`s psychological distance from the represented object on the stage, and it showed the weakness of the playwriter’s superficial recognition of the social reality. Therefore, Yoo could not help but develop a method to overcome these issues. Yoo suggested the way of reflecting the structural contradictions of the colonial Chosun as a method to communicate with Keukyeon`s intellectual fandom. He wanted to express a deeper understanding for the colonial Chosun in Binminga (the Slums) and Soh (the Cow). These plays showed the motifs of social struggle in such implicit manners like the allegorical setting and the satirical humor. But the plan to play them was banned by the Imperial Japan’s censorship, which made Yoo’s new method fundamentally impracticable. Consequently, the methods such as Romanticism or the Historical Drama that Yoo championed after mid-1930s need to be studied in conjunction with the method for figuring out the trans-class structure of the feeling as the pre-suppositional condition for the active dramatic communications.

A study on The Robber dramatized by Hamsedeok as the dramatist of Nacklang-kuckhoi

kim nam-seok | 2012, (38) | pp.91~124 | number of Cited : 0

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유치진의 새로운 극작 모색과 <한강은 흐른다>

Lee Jeong Sook | 2012, (38) | pp.125~150 | number of Cited : 5

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연극활동을 시작한 이래 언제나 연극계의 중심에 있던 유치진이 <한강은 흐른다>를 마지막으로 사실상 극작활동을 중단하게 된다. 극작에 대한 강한 의욕을 보이던 유치진이 왜 극작활동을 중단하게 되는지, 그 맥락을 이해하기 위해서는 <한강은 흐른다>와 이 공연을 둘러싼 정황들을 고려할 필요가 있다. 유치진이 주로 바람직한 교화의 방향을 보여줄 수 있는 긍정적 주인물과 그를 지지하고 따르는 부차적인 인물을 주로 활용한데 비해 <한강은 흐른다>의 인물들은 서로 소통하지 못하며, 관객들의 공감을 얻어내는 데도 실패하고 있다. 유치진의 희곡은 모든 사건들이 중심 줄거리로 집약되는 잘 만들어진 극 구조를 보였다. 그러나 <한강은 흐른다>는 줄거리를 촘촘하게 엮어가면서 긴장감을 상승시키기보다 사흘이라는 짧은 시간동안 일어나는 흥미있는 사건을 여러 개 엮어서 관객의 시선을 묶어두고 있다. 여기에 댄스홀, 재즈와 춤, 그리고 다이야반지 사기사건 등을 배치하여 볼거리를 만들고 있다. 그러나 이러한 새로운 구도를 활용하여 만들어내는 주제는 이전 반공극의 논리를 되풀이하는 것에 그치고 있다. 1950년대 후반은 새로운 관객의 등장과 함께 새로운 연극에 대한 요구가 높아지던 시기였다. 유치진 또한 그러한 요구를 알고 있었다. 다만 유치진은 새로움의 실체를 형식에서 찾았고, 형식에서 변화를 추구하는 것으로 관객들의 요구를 충족시킬 수 있다고 판단했던 것이다. 그러나 그러한 그의 생각은 관객들의 소통을 끌어내지 못했다. 외형만 새롭지 그 내용은 전혀 새롭지 않았기 때문이다. 야심차게 내놓았던 연극이 많은 관객을 확보하지 못하게 되자 국립극단을 나와 유치진과 함께 직업극단의 길을 가려던 「신협」은 다시 국립극장의 전속극단으로 들어가게 된다. 이로 인해 유치진은 자신의 연극적 기반을 잃게 된다. 결국 극단과 관객을 잃은 유치진은 강렬한 극작 의욕에도 불구하고 더 이상 극작에 손을 대지 못하게 된다.

Study of the aesthetic 'depaysement' in Lee hyun-hwa's works

Eun-Ha Lee | 2012, (38) | pp.151~178 | number of Cited : 3

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This study start with try to find coherence of 'Lee hyun-hwa's works, especially 'depaysement' of Sikim for the living. As a dramatist in 1970's, 'Lee hyun-hwa' is evaluated the most modernism writer through dramatic trial. Over 10 years, her drama can be not easily understanded because they were so different from each other. Especially after Cadenza, her works are debated as theaters oh cruelty. But this study will discuss about her unique suggestion drama, which show mistrust of real world and 'depaysement'. 'Depaysement' is surrealism that give us new way of think for real world and customary routine. And this way of think express well in her works. so it can be the way of ordain for her works. As a dramatist in Korea 1970, Lee hyun-hwa is called 'experimentally writer'. Since her literary works show own personality through writing activities for 10 years. especially after 'Cadenza', her writing is considered the tragedy of Artaud. But I can't confirm the cause of change, between Cadenza and other works. This thesis consider depaysement which is expressed over her early works is the art or the aesthetic for define her all works. Impactive touch of depaysement make same way the cruelty drama. Encounter strange, that is considered the most violent way in her works. That is the sacrilege and the making rapid progress. So we can understand why she intensify violence and express Artaud in her works Sikim for the living. I think that this depaysement show her philosophy that the sincerity rise above realities of life. Impactive touch of depaysement make same way the cruelty drama. Encounter strange, that is considered the most violent way in her works. That is the sacrilege and the making rapid progress. So we can understand why she intensify violence and express Artaud in her works Sikim for the living. I think that this depaysement show her philosophy that the sincerity rise above realities of life.

Study <Be in the vanguard>

임지희 | 2012, (38) | pp.179~205 | number of Cited : 2

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Unfamiliar Representation of History in the Zainichi Korean playwright Chong Wishing : Focusing on YakinikuDragon

Moon KyoungYeon | 2012, (38) | pp.207~242 | number of Cited : 7

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Take advantage of Drama in creativity education

kangjinwoo | 2012, (38) | pp.243~272 | number of Cited : 5

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A Study of the Grotesque Expressed in Park Chanwook’s Films

Jeong Hyeon-gyeong | 2012, (38) | pp.273~299 | number of Cited : 23

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Korean film director Park Chanwook illustrated the way the incompatible were integrated and driven to extremes and exaggeration. His films that provoke fear and laughter in that situation could be defined as the grotesque world. In this research, I have analyzed the critical perception about the world implicit in the imagination of “the grotesque” and “the human being degenerating into a monster”, which is characteristic of Park Chanwook’s films. The texts studied are The Vengeance Trilogy consisting of <Sympathy For Mr. Vengeance>, <Oldboy>, <Sympathy For Lady Vengeance>, <Thirst> and <Three, Monster>(segment <Cut>). The grotesque is a way of creation that calls the absurd and dishonest world out and then face to conquer it. The worlds of the grotesque that we face through Park’s films can be divided into four aspects. First, he expresses the absurd lives of the subaltern that the contradiction of the capitalistic society brings about. This forms the discussion of criticism and resistance about the contradiction of Korean classes. Second, he shows the awareness of the times when the legal systems of the society cannot guarantee individual welfare. Through this he criticizes the world that cannot realize public justice. Third, Park’s works contain the apprehensive consciousness of destiny that the factors like coincidence and carelessness can lead to the terrible catastrophe. Lastly, they bring the disillusive awakening that human desires are the power degrading themselves to monsters. Human beings degenerate into monsters in the grotesque world illustrated by Park Chanwook. They turn into monsters like destiny led by the power of chance, in the world of capitalistic society’s contradiction and making realization of public justice impossible. There are uncontrollable desires in the inner world of human beings degenerating into monsters. Realizing the truth, the dichotomous way of thinking telling right from wrong is deconstructed and overthrown. Consequently, the grotesque in the Park Chanwook’s films can be defined as the visible or narrative expression of the world and humans. However, the grotesque trying to conquer the evil and spurious world by being faced with it create the horrible and the ridiculous. In this case laughter plays a role of the device controlling extreme fear and defense mechanism defying anxiety. In this research I studied the aspect of the grotesque and a degraded human character. In addition, I produced significant results of what the truth of the world requiring critical reflection is through examining Park Chanwook’s films as the world of the grotesque. This study can be said to break new ground in understanding Park Chanwook’s films.

An Analysis of Changes in the Genre of Korean TV Historical Drama in 2000 Ⅰ

Yun, Suk-jin | 2012, (38) | pp.301~323 | number of Cited : 38

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ince the first historical drama <10,000 Ri of Territory> was aired in 1964, about 60 years have passed while historical dramas have repetitively called or reinterpreted historical figures and events. Nevertheless, the reason why each historical drama has been interpreted in a different way each time is attributed to different political, social and cultural situation of the time. Of course, calling 'a certain time and figure' amid thousands of years of history accumulated with a numerous number of historical figures and their lives is completely the responsibility of author and producer. However, imposing the present meaning on the selected historical figures or events is the responsibility of viewers. Therefore, if the figures or events called on historical dramas don't deliver the present meaning of the time when viewers live, the dramas come to lose the meaning of existence so that viewers' historical consciousness for historical figures and events is important. Like this, it is the destiny of historical drama to interpret the past based on the current meaning. This study was designed to analyse changes in the genre of Korean TV historical drama in 2000. At the very first, the trends of Korean TV historical dramas shown until the year 2000 were summarized, and then the dramatic imaginations of 20 historical dramas produced in the year 2000 were classified in terms of 'consciousness' and 'sentiment' into five categories: 'Raising national consciousness', 'awakening political consciousness', 'raising revolutionary consciousness', 'emphasizing passionate sensitivity','stimulating restoration sentiment. TV dramas that realized a dramatic imagination for raising national consciousness are <Jumong>, <Tae Wang Sa Shin Gi>, <Comrades> and <Road Number One>, those for awakening political consciousness are <The Great King Sejong>, <Deep-Rooted Tree>, <Yi San> and <Queen Seon-Deok>, those for raising revolutionary consciousness are <Damo>, <Sungkyunkwan Scandal>, <The Return of Iljimae> and <Slave Hunter>, those for emphasizing passionate sensitivity are <Dae Jang Geum>, <Capital Scandal>, <The Princess' Man> and <The Moon Embracing the Sun>, those for stimulating restoration sentiment are <East of Eden>, <Giant>, <Baker King, Kim Tak Goo> and <Lights and Shadows>. As a result of analysing dramatic imaginations of historical dramas in 2000, it was found that 'history from the view of possibility' based on 'recorded history', or 'story from imagination based on historical time and space had been focused to result in the expansion of TV drama genre.

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

2012, Vol., No.38