2013, Vol., No.41

A Study of Children's Theatre of Park Se Young -Focusing on 『Byeolnara』-

Son JeungSang | 2013, (41) | pp.13~48 | number of Cited : 8

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A study on the Planning of the Yoo Chi-Jin's National Theatre and <wonsullang>

Lee Jeong Sook | 2013, (41) | pp.49~78 | number of Cited : 7

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The Realism Drama after Koran War and The Cracking Aspect -Focusing on Im Hui-jae's Dramas-

LeeSeunghyun | 2013, (41) | pp.79~102 | number of Cited : 7

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A Study on Troupe ‘Gagyo’ -Focusing on ‘Pavilion Theater Age’-

박경선 | 2013, (41) | pp.103~137 | number of Cited : 3

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With the aim of performances that can give pleasure and comfort to the public, Troupe ‘Gagyo’ (Bridge) was founded in 1965. Since its foundation, the Troupe has communicated with the public through tours visiting local and nationwide schools, prisons and Youth DePavilion ion Centers etc. and held seminars for teachers who coach a play in middle and high schools. In addition, it attempted a shadow play for the first time in Korea and created a new form of performing arts like directly going to the audience for performances by preparing Pavilion Theaters. It is the summer when ‘Gagyo’ put on moving performances in a ‘Pavilion Theater’ of beaches and mountains and the summer is the off-season of a play. Affirming its resolution that ‘A play goes to a place wherever there is the audience’, ‘Gagyo’ visited the audience actively rather than sit and waited for the audience. There have been a lot of difficulties to perform in ‘Pavilion Theater’ but as said in founding purpose, ‘Gagyo’ has tried to realize a play together with the public, that is, a popular theater. Also, ‘Pavilion Theater’ of ‘Gagyo’ plays a role of expanding a venue. And ‘Gagyo’ practices social participation through the ‘Pavilion Theater.’ Hearing that a school for unfortunate youths is in trouble, it performed to help the school in Gangnung province. By donating proceeds from the performance, it contributed to the establishment of the school site. Also, ‘Gagyo’ invites other troupes to the ‘Pavilion Theater’ to hold Summer Theatre Festival. Through the participation of several troupes, various works can be provided to the audience. Since Summer Theatre Festival was held in Yeongok Beach of Gangwondo in 1980, no Summer Theatre Festival using ‘Pavilion Theater’ has been held. The ‘Pavilion Theater’ of ‘Gagyo’ started in 1973 let us know the fact that plays can be performed even in the summer which is the off-season through the active attitude visiting the audience, practiced social participation through plays, spread pure plays to the provinces unfamiliar with plays and served to arouse the public interest about plays.

A Study on Figuration of Memory in <Mother> -Focused on Comparison of Directing between Kim Myung-gon and Lee Yoon-taek-

Suk Kyung Kim | 2013, (41) | pp.139~178 | number of Cited : 0

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This study has been performed to rediscover particular characteristics and limits of Lee Yoon-taek's <Mother> focusing on figuration of memory. For this, it has been aimed at directing comparison between Kim Myung-gon and Lee Yoon-taek. Playwriter, Lee destructs heterogeneous time and space for figuration of memory. The destruction of time and space appears in 'coexist' way. Heterogeneous time and space, that is time and space in the present the mother states orally, time and space of memory in the past and time and space in the other world, simultaneously coexist without any border and separation. With regard to staging of destruction of time and space, the difference between director Kim and Lee lies in 'usage of stage space', 'character destruction', 'gaze'. Concerning the usage of stage space, Kim directs by mixing minimized heterogeneity of two time and spaces, applying the principle of empty space. He also destructs time and space in a similar aspect from the beginning to the end. On the other hand, Lee maximizes heterogeneity of two time and spaces and tries to mix them in an unfamiliar and decisive manner and directs seemingly expanding the destruction of time and space as a play proceeds. Second, regarding the destruction of character, Kim directs minimizing it while Lee maximizes it. Third, Kim makes the mother’s gaze straight to the front, which seems distant between present and past, while Lee changes mother's gaze, making various relations between present and past. Most episodes in the past which the mother remember depend on collective images rather than private images. Most outstanding collective memory images in <Mother> are 'national archetypal image' and 'trauma image in modern history'. Firstly, national archetypal image are discovered in various layers such as objet, tales, action, and songs. A persimmon tree, which most frequently appears throughout the work, is a representative symbol of past space. In addition, old villagers' group movement and choir are typical means for imaging life styles in the past. Kim directs a past life as 'popular image' focused on adults, while Lee directs as 'lyric image' focused on children. The stories of a Sin-Ju-Dan-Ji and Yangsanbok and Sooyoungdae are typical examples as a tale motif for establishing national archetypal image. national archetypal image initially function to express time and space in the past the mother remembers and life styles, and furthermore induces the nostalgia for accustomed but lost ones. The theme most related to among mother's memory is mother's painful life history. Her painful history in modern history is internalized through the image of trauma. That is to say, the modern history and mother's history overlap each other by collectively imaging painful modern history. Trauma of modern history is expressed indirectly or along with a daily life related to Confucian ideology in Act 1. On the other hand, trauma in the colonial period and Korean Civil War is expressed more directly. This work covers a life history depending on mother’s memory, so individualized and subjective images should account for more than general historic images. However, in Act 2, the images of trauma in modern history weaken its fun in play and sympathy of mother's pain as 'subjectivity' as the property of memory shrinks.

Cheollima Movement and North Korea’s theatre

Kim Jeong Soo | 2013, (41) | pp.179~210 | number of Cited : 3

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This study focuses on the fact that researches on North Korean theater related to Cheollima Movement in the 1960s when North Korea was on the fast track have not been made and aims to analyze the aspect of accepting public performance of the spirit of Cheollima that appeared in the production process of North Korean theater from 1960 to the mid-1960s. As the result of this study, it was found that Cheollima Movement in the 1960s was a popular movement for economic construction and exerted strong influences all over North Korea. Kim Il-seong demanded the literary artists to describe the heroic struggles of the people in the Cheollima era, and this demand was converged into ‘reality experience,’ and ‘collective creations.’ Of course, the theatrical circles quickly took the lead in practicing Kim Il-seong’s instructions. As a result, ‘reality experience,’ and ‘collective creations’ brought to the theatrical circles a new creation methods in the production process of the joint creation of plays, the materialization of new communistic human models equipped with party spirit and technology, and the creation of lines/characters/scenes through real persons. This method of creation may or may not be a totally new method, but its meaning needs to be illuminated together with the circumstances in which Kim Jeong-il, after graduating from university in 1964, designated the literary artist circles as his foothold of political starting point. After the purge of Gapsan faction of North Korea in 1967, Kim Jeong-il became the strong heir to Kim Il-seong. In this period, he advocated ‘Juchae style’ literary art through operatic revolution first and the Kim Jeong-il style method of creation became unique creation theory of North Korean literary art circles and it has been displaying power up to now. If so, the ‘joint creation’ method in the short period of 1960s can be the last creation method that was free/had been free in North Korea. Such things as the observation of internal/external behavior of original characters, the completion of lines heard on the scene through discussion, the creation through collaboration of actors and the playwright, the conception of real persons’ life into scenes, active discussion on the side effects of creation methods are certainly creative ideas of theatrical people in North Korea and by extension the experimental spirit. This is the meaning of this period in the 70 year-history of North Korean theater. It is because creation and objectification are the basic elements of theater.

A study on actors' applying the methodology of lyric analysis for musical performance -Focusing on 'the Guitar man' in Korea Musical <Seo Pyeon Je>-

Lee Gye Chang | 2013, (41) | pp.211~252 | number of Cited : 6

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Musical became the most popular genre among various forms of performing arts in Korea. In spite of this development, studies and discussions on musical performance have been focused on existing acting method for characterization in particular works, or analyzing musical or choreographical elements according to researchers academic affiliations. This study attempts to demonstrate how musical actors can perform their role in natural, independent manner as they do in their real lives. I would seek the answer for the question in the methodology of lyric analysis as a starting point. Actors' acting are based on understanding of works through the analyses of the texts. Text in musical means not only writers' scripts, but also everything offered by lyricist, composer and choreographer. The discussion of this study is focused on the lyrics of musical songs among various kinds of musical texts. In performance of musical, songs are extension, magnification and enforcement of dialogues. Dialogue means exchange of words, and this is closely related to 'language'. Since characters's thoughts are expressed through lyrics in performance of musical, musical actors need a methodology in order to analyze the lyrics. The data for this study is the lyrics of 'the Guitar man', a song played in the creative musical titled <Seo Pyeon Je>, which is written by Cho Kwang Hwa and composed by Yoon Il Sang. The method applied in this study is based on the Joe Deer and Rocco Dal Vera's lyric analysis. However, phonological and semantic approach that I revised from the original theory is applied for the discussion. In conclusion, characters thoughts and sentiments are not exclusively contained in the rhythm of music and the meaning of lyrics, but the sounds of words and their meters can carry information on characters and works. In addition, it has become clear that musical actors can fulfil the basic task of 'sing as you say' when they have conspicuous intentions.

Depression of City People as a Symbol of Hybrid City in the 1970s -Focused on <Heavenly homecoming to stars>, <Yeong-Ja’s Heydays>, <The March of Fools>, and <It rained yesterday>-

Jeong Hyeon-gyeong | 2013, (41) | pp.253~283 | number of Cited : 10

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Depression, the morbid sign, frequently appears in the cinema of the 1970s. It can be said that the Korean cinema in the 1970s created the image of the 1970s through gloomy city people. The morbid sign city people of the cinema show should be seen that it goes beyond individual phenomenon and contains the public and societal metaphor. This paper aimed at comprehending the morbid symptoms and looking into the relation between this and the time, noting that depression of city people leaped into the iconic image in the films from the 1970s. The subjects of the study are <Heavenly homecoming to stars>, <Yeong-Ja’s Heydays>, <The March of Fools>, and <It rained yesterday>. The Korean cinema of the 1970s can be the image as new composition toward ‘the picture of the world’ as well as the expression of consciousness toward the Korean modernity. Therefore, this study of the causes and aspects of emotional gloom penetrating one era would hold the value of reading an era through pathology. Seoul in the 1970s is the space with the compound identity of city in many different ways. ‘Rapid’ modernization being achieved, the city got the mixed identity in terms of city members. Besides, the city formed different kinds of spaces, the symbolic center and circumference, inside the city and class separation of city members was accomplished. Various and sensational popular culture and the ideological clash toward sex and capital can be causes to provoke the compound identity of the city. Korean cinema characters living in the chaotic city of Seoul in the 1970s themselves could be the symbols of the city of the time. The pathology of depression these city people showed largely appears in three aspects. The first aspect is caused by ‘the loss of home’ as a root of existence. The morbid symptoms such as depression, alcohol addiction and suicide or suicide attempt that occurred among human beings, who could not acquire the space of their own, revealed the split lives of the homeless in the city of the 1970s. The second aspect is related to limitless competition forced by the growth-oriented society. The split self of city people whose results were forced under the system of strict disciplines means incompetence of the time and defeated youth. The third aspect is caused by the repression and contradiction of the moral sense of the sex. If a venereal disease is the physical disease proving the sex moral corruption in the 1970s, sex mediated depression can be the expression about the tension of sexual ideology. The disease shaping a special discourse or emerging as the image of the time should be interpreted and analyzed in the very culture. It is not so as to use violence of exception and discrimination, covering this disease with metaphor, but to read the emotion and anxiety of the time with the imaged disease and grope the solutions. In that sense, through this study we could get the message that we have to find and face other images digging into now and here profoundly.

Topos of immorality and Ringwanderung -Focusing on <Nobody's Daughter Haewon> by Hong Sang Soo's Film-

김경은 | 2013, (41) | pp.285~318 | number of Cited : 3

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Hong Sang Soo is an auteurist film director who built up his firm world in Korean film community and secured the thick support layer after he published fourteen long films in total from <The Day a Pig Fell into the Well> in 1996 to <Nobody's Dauther Haewon> in 2013. Through consistently concentrating on relation, he is tenaciously searching for one world, elucidating a human being and bringing his works to completion. His flims, as arranged into 'man, woman, bed, alcohol', dubbed as 'the theory of four elements of desire', have stereotypical frames and are raising reference examples on his prior works, the more his works added. In other words, his works are ones that fall into ingwanderung, between the definate frame and theme lying ahead. For instance, enhencing the weight of in-a-dream-sequence in <Nobody's Daughter Haewon> reinforces the subjectivity of narrative and that, after returning to <The Power of Kangwondo Province>, embodies the sufferings of heroine Jisook. Haewon is wandering in searching for the flag which materializes her love but troubled with the unseizable substance. Feeling a death impulse, she flees into a dream and falls into ringwanderung. In a dream, she removes her lamentation after she meets a climber who knows of her love, but the possibility she can escape out of the veinly persuing desire gets away. The moment the flag becomes desire, the flag serves as the visualization of desire, not the materialization of love. Hong Sang Soo, who firmly established the world of his works, and audiences are the flag relation to each other. But if he persues the flag beyond her lamentation-removing, not Haewon beyond the flag, the relation would assume stereotypicality. He desires Haewon and finds out a new flag by trying to twist with strengthening in-a-dream-sequence. That is, though Hong Sang Soo's works handles the same theme and returns repeatedly, the places are not those of the same. Accordingly, the flag acquiring is impossible, and amid her flag-persuit continues, the flag becomes the signifier of ringwanderung. The solitude of nearby Haewon who goes onto the secluded death would come back with confirmed features when Haewon stands up as an independent main body, and the flag turn into the another name of solitude leading forward at the moment it hangs in the air. The spirally repeating ringwanderung goes to shape the main body amid the desire moves infinitely over again.

TV Drama and Narration -Focusing on the 2000s Mini-Series-

Lee Daun | 2013, (41) | pp.319~344 | number of Cited : 15

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Narration in TV dramas has existed as an auxiliary device for its simple purpose for long time. However, in recent TV dramas, narration is receiving new attention as a technique to cause various effects. In particular, a series of TV dramas created in the 2000s used the narration in different ways from earlier approaches. This allows for establishing a new relationship between TV drama and narration. In other words, a series of works created in the 2000s are found to have used narration in a strategic way for dramatic and aesthetic effects while holding its identity of drama. This study examines‘how’narration existed in the TV dramas created in the 2000s and‘for what’ they were used, centering on such works as <Age of Love>, <Worlds Within>, <Bittersweet Life>, and <1000 Days>. As a result, it was found that narration played a role beyond just the explanation of a simple information. In such works, narration reinforced dramatic immersion and sympathy by showing the inner side of a disguised character and induced positive participation from viewers by concealing or obscuring information. In addition, narration implemented emotional language that could not be felt in our ordinary lives to expressed emotions or thoughts of a character or was used to request the time of contemplation by asking a question to induce philosophical reasoning. In conclusion, in such works mentioned above, narration is not used for a simple purpose like ‘convenience of narration(representation)’, but rather used as a technique which was strategically used for various dramatic effects. Furthermore, in the works that were recognized as well-made from a considerable number of the works that used narration strategically like <Age of Love>, <Worlds Within>, <Bittersweet Life>, and <1000 Days>, narration, which was used in an effective way, is found to be a technique to add the depth to the works.

Colonial Period and the Drama of Mourning -Focusing on the <Gyeongseong Scandal>-

Moon KyoungYeon | 2013, (41) | pp.345~378 | number of Cited : 6

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Behind the rise of so-called "Gyeongseong-trends" or "Gyeongseong-boom" during the mid-2000s Korean pop culture scene, there were active endeavors of the academic and publishing world that tried to examine the cultural genesis and historical agents from the perspective that viewed the Japanese Colonial Period as the time when Korean modernity originated. Like many other pop culture contents in the 2000s, that used the time and space of colonial Gyeongseong [Seoul] as their material for dramatization, the <Gyeongseong Scandal> a 2007 television drama series, offered a spectacular representation of the modern custom and landscapes of the 1930s’ Seoul. However, what was distinct about this TV series was the melancholy sentiment of the colonial people and the grieving process represented in it. <Gyeongseong Scandal> was presented as a "fusion" period drama, in its positive sense, to appeal to the public, but beneath its superficial cheerfulness, humor and lightness, there lied a deep well of loss and mourning. This series demonstrated the sense of indebtedness and guilt, the survival tactics of "disguise" that the colonial youth possessed, which, in turn, allowed them to achieve their liberation only through the national liberation, and also the life of punishment for those who had been deprived of their rights to grieve. It was mourning the historical events, deaths, and the loss of humane values and ideals during the colonial period. And the characters, through this mourning process, recognized the dearth caused by such loss. The pursuit of desires that was initiated by the dearth, then, proceeded to the performativity of grieving, which constructed the new historical agent. This paper aims to examine the manners in which the drama of grief was dramatized and the driving force behind the dramatic narrative.

Origin of Human Terror and the Image of Television drama -Focusing on a Suspense Horror Historical Drama, Gumiho-Yeowunuyidyeon (Tale of the Fox Sister)

Arum Song | 2013, (41) | pp.379~420 | number of Cited : 4

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Gumiho-Yeowunuyidyeon that was broadcast in summer of 2010 and subheaded as a 'Suspense horror historical drama' is a Television drama featuring on the familiar nine-tailed fox with a new fear. Gumiho-Yeowunuyidyeon has an overthrowing narrative with which humans covet for the liver of a nine-tailed fox, which clearly differentiates itself from previous dramas of nine-tailed foxes. Moreover, Gumiho-Yeowunuyidyeon takes notice of the fear arisen from human primitive limits other than the previous way of igniting fear through appearing of nine-tailed foxes. It describes a catastrophe derived from processes of recognition that used to be believed right and perceptions and senses with which humans are to be sure that something there is, and other things humans used to believe as the truth. Overwhelmingly, those that were ‘believed’ to be something that you ‘know’ cause to make errors, and hereby the terror makes the audience feel beyond grasping the world that belongs to them is presented through the image of television, emitting a more progressive meaning in it. Gumiho-Yeowunuyidyeon embodies the processes that we recognize through narration, close-up, auditory image and flash-back, etc., which type exposes the limit of recognition as it is, that is to say, an interesting fact. In particular, a dramatic irony that the drama faithfully employs is also said to be something that shows how arbitrarily humans recognize and make decisions. Those that humans believe they can get to know are the causes that drive characters of Gumiho-Yeowunuyidyeon to a corner of collapse by themselves. Gumiho-Yeowunuyidyeon shows the fear with which that the primitive limits that humans have are actually deleting ‘the humanity’ with which they believe they are ‘human.’ This represents the fear and cruelty that indwell in humans along with the fact that the fear caused by the objects of the outside world is meaningless any longer.

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

2013, Vol., No.41