2013, Vol., No.42

The Reformation of Modern Theatrical Field and the Concept of 'heunghaeng’ : From 'yeonhaeng' to 'heunghaeng'

kwon, Junghee | 2013, (42) | pp.13~52 | number of Cited : 7

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A study on the Jongno-Kwonsangjang, commercial & amusement complex in Chosun colonial period : Focused on 1920's

Baek Doosan | 2013, (42) | pp.53~88 | number of Cited : 5

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Yadam(Historical Tale) and Yadam Contests as the Modern Performing Arts

Seonae Bae | 2013, (42) | pp.89~124 | number of Cited : 10

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Dongailbo Drama Concours and the Theatrical Direction

LEE MINYEONG | 2013, (42) | pp.125~147 | number of Cited : 6

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A Study on Melodramatic features of Nam-gung, Man’s dramas in the period of directly after Korean Liberation

Hyang Kim | 2013, (42) | pp.149~186 | number of Cited : 3

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The purpose of this article is to research melodramatic aspects of Namgung, Man’s dramas in the period of directly after Liberation, which are Boksakot-pil-tae(when peach blossom bloom)(1946), Haeui-do(Haeui island)(1946), Jeju-do(Jeju island)(1947), Bombi(spring rain)(1947) and Hong, Kyoungrae(洪景來)(1947). In these dramas I could see melodramatic features on the basis of confused and apprehensive emotion, so I focused on them. Then I definitized characteristics of Namgung’s dramas which were reflected the confusion of the age aspects of melodramatic features. In so far advanced researchers discussed melodramatic features of liberation dramas lack of completeness. But we had to take notice of melodramatic dramaturgy of revolutionary period. That is to say, melodramatic features of the dramas were cultural phenomenon have been on the rise in the process of collapse of traditional order. So Soviet Union accommodated melodramatic dramaturgy to instigate peoples in the revolutionary period intentionally. Then I studied Namgung’s dramas in the aspects of excess emotion and actions of characters, love triangles, melodramatic moral, spectacle inflammation and discontinuous scenes on the basis of this argument. And I came to the conclusion as follows. Melodramatic features of Boksakot-pil-tae(when peach blossom bloom), Bombi(spring rain) and Haeui-do(Haeui island) were to embody emotional and physical struggling characters against a feudalism, the vestiges of the Japanese imperialism and an act of American violence in the flow of sociocultural anti-imperialism and semi-feudalism. And I thought that Namgung showed his political interpretation realizing inflammatory genocide of South Korea and land reform of North Korea in Haeui-do(Haeui island) and Jeju-do(Jeju island). He compared General Kim to Hong, kyoungrae whom realizing suddenly appearing unusual hero and good agitator as well as melodramatic hero. Eventually Namgung materialized farmers’ class liberation, postcolonial cognition and nominating general Kim as a new leader of North Korea with melodramatic strategy.

Introduction of individual discussions and status of anticommunism plays in the 1950s

Oh, Young-mi | 2013, (42) | pp.187~217 | number of Cited : 5

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This paper focuses on the contradictory situation in the 1950s when ‘change’ could hardly be accepted under the ‘Cold War’ although Korean anticommunism is an ideology of freedom and individualism. Furthermore, social change factors such as individual discussions are discussed assuming that the factors had influence on the creation of anticommunism plays. The point of this paper is that individual discussions are the main cause of dynamic change of social recognition and pop culture when it comes to diagnosis of creation of anticommunism plays in the 1950s while KAPF in Colonial Choson and purposed literature are criticized because of the similar phenomenon. Individual discussions here are comprehensive because they are defined as all new things which created social changes in the 1950s. Anticommunism plays in the 1950s have many problems analysts have inspected such as light-mindedness of melodrama, rigid ideology, polarized characters, plain and repetitive pattern and so forth, which have been caused by the lack of study on the ideology. Playwrights of anticommunism plays just shows an emotional aspects through war experiences regarding anticommunism, 6.25 has been considered as the trigger to deepen the antagonism to anticommunism which had consisted since independence. In addition, no one could be free from this matter because anticommunism had replaced nationalism which had been insisted from before war, and it acted as a censor criterion of the public integrity in advance of systematizing of ideology. This is an illustration showing that the playwrights have no ideology model of national anticommunism. Stress of purposed plays can also be considered as a cause of poor performance of anticommunism plays in the 1950s. Public discussions, weakened enlightenment and introduction of individual discussion induced changes in the cultural field presenting public matters, and the type of the most popular melodrama for their story type of anticommunism plays is involved with it. On the other side of various problems of anticommunism plays inevitably created as they are purposed plays, this paper will study the changes in the 1950s as the main cause.

A Study on the Religious Drama of Ban Lee

Zoh, Borami | 2013, (42) | pp.219~249 | number of Cited : 0

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A Study on the Changing Trend of Character Types in Police Procedural Television Series - Focusing on TV drama <Sign> and <Phantom> -

Kwon Yanghyeon | 2013, (42) | pp.251~278 | number of Cited : 18

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The police procedural is a sub-genre of detective fiction which stirs human beings' long-lasting pleasure arising from solving the riddle of cases through deductive reasoning while letting television viewers participate in the investigating process. What is more, police procedurals play a role in awakening one's desire concealed inside crimes and reflecting their existence as a human being, as well as evoking social consciousness. This study mainly focuses on character types based on the traits of the genre although research with regard to police procedurals has been scarce, which is in contrast to the fact that a great deal of attention has been paid to their values and changes in police drama genre. In other words, the aim of the study is that through the exhaustive examination of police dramas aired in the past and the current days such as <Chief Investigator>, <Sign>, and <Phantom>, the changing trend of character types in these police procedural television series is to be investigated and further to be contemplated as to how this phase has an impact on the evolution of this drama genre. As a consequence of this study, two distinguishing aspects of characters at large have been recognized between current police dramas and traditional ones, one is the extension of a character's external type and the other is the alteration and evolution of traditionally dichotomous characters respectively. To begin with, the development of external characters has had an effect on stimulating viewers' interest by enabling them to experience gratifying moments of dramatic tension in the genre and further contributed to the diversification of drama topics. In addition to this, one of the most remarkable points in the alteration of drama character types is that the characterization of the upper class has become criminalized. This kind of change allows the audience to be exposed to hypocrisy which people in high social status holds and thus to take part in the process of critical thinking and reflecting on social issues that our modern society currently faces. Furthermore, the role of detective characters, who have been tracing and investigating crimes and offenders, has been displaced as that of victims, and criminal characters once in a while tend to become role-changed into the chaser or controller of investigators, leading to escalating drama suspenses in police procedurals. To sum up, current police procedural television series show signs of the changing and strengthening trend in genre traits through modifying and varying the character types of previous police procedurals.

Tempo and Rhythm Training for Actors

KIM, HYUN HEE | 2013, (42) | pp.279~316 | number of Cited : 5

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

2013, Vol., No.42