2014, Vol., No.43

A Study on Eoritgwangdaes of Nasadangpae

Choi Ragyong | 2014, (43) | pp.13~61 | number of Cited : 7

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The Study on the Founding Performance of Towolhoe

Kim, Jae Suk | 2014, (43) | pp.63~95 | number of Cited : 13

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Towolhoe performed 4 dramas as works of founding performance at Chosŏn Theater from the 4th of July to 9th in 1923. They performed Eugene Pillot’s Hunger, Anton Chekhov’s The Bear, Park Sunghee’s Gilsik, and Bernard Shaw’s How He Lied to Her Husband. It can be summarized that the founding performance of Towolhoe had two characteristics. One is that they chose the realistic works of the time forming the Western modern drama as the works of founding performance. Towolhoe chose the foreign dramatists who made a great contribution to forming the modern dramas of their countries and made a huge establishment mainly in realistic dramas. That is, Towolhoe had the perception that the modern drama in colonized Chosŏn should be realistic drama. The other is that Towolhoe tried to get legal performance of theater recognizing censorship. Its basic standpoint was that they performed the works passed Japanese censorship in the permanent theater. To pass the censorship, they had to avoid the works closely related with the reality of colonized Chosŏn. Towolhoe aimed at the works which could pass the Japanese censorship and at the same time had the enlightening viewpoint. The researches which have been made up to now have evaluated that the founding performance of Towolhoe ended as failure. However, the performance was not failure in terms of actual fact and was much less failure in terms of forming modern drama in colonized Chosŏn. It must be evaluated that its founding performance was prepared carefully by the theatrical people with expert knowledge on modern drama and inspite of its insignificant mistakes, the performance ended well. Especially, the people encouraged from its founding performance newly joined Towolhoe. This fact has great significance, since it could provid a momentum for getting into its stride for modern drama. In addition, it should be highly evaluated that though they had to recognize the severe Japanese censorship for performance in Chosŏn unlike the Japanese movement of modern drama, they presented the direction which the modern drama of colonized Chosŏn that could not be indifferent to its suffering would move forward.

Characteristics and Meanings of drama text in the textbook of syllabus period

Kim Yoo Mi | 2014, (43) | pp.97~131 | number of Cited : 3

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Im/possible Americanization and Un/healthy Free Love - Reading by Overlapping Comedy in Liberation Period and in Post Korean War, 1950s

Jun Jeenee | 2014, (43) | pp.133~166 | number of Cited : 1

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American culture rapidly flowed into the people's daily life with passing through the end of the war in twice called the 8.15 liberation and the Korean war. Disorderly freedom, which originated from Americanization, namely, self-indulgence was connected with the gender-based dimension. The expansion in the tendency of freedom and equality according to the introduction of American-style sense and democracy made women liberated from the restraints of the home and the body. Lee Byeong-il's <Jayugyulhon(Free Marriage)>(1958) and Han Hyeong-mo's <Yeosajang(Female Boss)>(1959) are the texts at the end of free-love discourse in the 1950s as well as being in a field of ‘free whirlwind.’ Both movies are following the creation of the original plays and are simultaneously succeeding to a form of Screwball Comedy in Hollywood. All in <Yeosajang(Female Boss)>(1948) & <Yeosajang(Female Boss)>(1959), <Ddaldl, Jayuyeonaerlgugahada(Daughters Sing Free Love)>(1957), and movie <Jayugyulhon(Free Marriage)>(1958) contain a critical sight on Americanization-consumption culture following the liberation and point out Hello-girl and Aprés-girl of enjoying this as the subjects that will need to be enlightened. At this time, the free love becomes a means of educating women with turning around social standing between man and woman. Two movies establish conservative moral sense based on familism of the 1950s by uniting young people's sex, love, and marriage against the open sexual consciousness in those days. The satire and the resistance, which can be immanent in comedy genre, were vanished in the beginning with being combined with a material dubbed the gendered love. However, even if the ending returns to the most conservative direction, 'enlightenment' and 'marriage', Seoul's pleasure-based landscape and Aprés-girl's provocative image, which were suggested on the screen, could overwhelm the conservative happy ending. In other words, the postwar play and movie indulge in American-style freedom and fashion in the process of going back to the conservative conclusion. Even if advancing finally to the conclusion of woman's obedience, it couldn't completely control disorder in a name called freedom in the period that the people had been intoxicated with sensational vanity. The recognition on its impossibility was also the one on reality that was shown by the postwar comedy of representing custom in those days.

Oriental Romance and (A)historical Imagination in Female Gukgeuk

Hwajin Lee | 2014, (43) | pp.167~200 | number of Cited : 8

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Research on the movie activity of Bak Gu in 1950-1960

Kim Taehee | 2014, (43) | pp.201~226 | number of Cited : 2

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A Study of Human Desire Appeared from Affection Themed Play Written by Cha Bum-Suk - Focusing on <Boat horn>, <Sound of mist>

김경남 | 2014, (43) | pp.227~255 | number of Cited : 3

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Purpose of this research is to understand moral character type from play written by Cha Bum-Suk through features of affection problems from <Boat horn> and <Sound of mist>. Affection problems are subjects Cha that Bum-Suk like to use so analyze his works through these are useful. But ‘love’ appeared from play of Bum-Suk Cha is little different from emotion from melodrama. While melodrama make empathy possible through identification with character, main characters of love from play of Cha Bum-Suk put distance with each other and this is because selfish desire is embodied to emotion of ‘love’. Cha Bum-Suk who tried to criticize social irregularities and egoistic character through realism drama warned about human desire through missed main characters of love. He substituted selfishness and greed to ‘love’. But characters who obsessed with emotion of ‘love’ get punished. Tragic ending appeared from most of play is deeply related with punishment of character. Issues about desire and punishment are structure which are used from most of his work but <Boat horn> and <Sound of mist> show most this thematic consciousness. <Boat horn> and <Sound of mist> show these selfishness and punishment process with the subject affection problems itself. These works emphasize fantastic stage setting like mist to embody the inner world, and this is to appear stubborn and selfish emotion by setting concealed and disengaged space which is distanced from real world. Created date of these two works is different but those show similar aspect because both of them have same thematic consciousness which Cha Bum-Suk tried to tell repeatedly. So <Boat horn> and <Sound of mist> are really useful work to understand plays of 60’s which is dealing with affection problems and having tragic ending such as not only <Forest fire> but also <Flock of gulls>, <Tropical fish> and <Castle of rose>. Love from conceal space has broken in the process of turning back to reality and selfish characters who seek their own desire get punished. But in case they accepted reality and moderated desire they can be excluded from punishment. Cha Bum-Suk thought emotion of ‘love’ can be felt freely if someone gets out of reality so love emotion is only possible inside of concealed space which is distanced from real world. So character who is capable of moderate their emotion can stand on positive position while character who seek their desire continuously is ruined. <Boat horn> and <Sound of mist> are warning about inner desire by showing characters who seek their own desire inside of disengaged space.

Supply-driven fim industry system in 1960s-70s and dual position of screening sector : Focused on first-run movie theatre in Seoul

Junhyoung Cho | 2014, (43) | pp.257~300 | number of Cited : 8

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This article focuses on the movie screening sector in 1960s-1970s, the most important era in Korean film history. Traditionally, the movie screening sector has not been valued as much as it deserves in Korean film industry. That is because official viewpoint, discussion and policy for Korean films have been oriented toward 'production' of the 'national art'. The film production industry was recognized as having a role in the creation of the national art due to its productive nature. On the other hand, theater business and movie screening was stigmatized as a decadent business that often involved law manipulation and deviation and theater owners (and local film distributors) as businessmen with no understanding of art hindering the development and modernization of the film industry. However, after 1960s, the movie screening sector in fact had held a powerful position in the film industry. Mass production system of films, which was enforced by Park Jung-hee regime from the early 1960s, led to oversupply. The number of theaters, especially those in Seoul, was relatively fewer than the films produced, so the theater owners occupied dominant positions over producers. This kind of gap between official aim and reality hindered accurate analysis of problems in the film industry and impeded efforts for rational progress of Korean film industry. As a result, Korean film industry went into stagnation for 20 years from early 1970s. This article describes the change of dynamics between the movie screening sector and other sectors in Korean film industry. It also looks into the collapse process of the screening system unique to Korea that specified Korean-film-only theaters and foreign-film-only theaters, especially from late 1960s to early 1970s during which the Korean film boom was on the wane. By examining these points, this article explains the origins of the deep-rooted conflicts between production and screening and between production capital and commercial capital and describes the tradition of supply oriented ‘national films’that were the cause of the conflicts.

The Narrative Strategies of Departure from Historicity and Fantastic Feactures in <Taewangsashingi>

Baek so youn | 2014, (43) | pp.301~331 | number of Cited : 4

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Double-voiced discourse of Television historical-drama Deep-rooted Tree

Kyungseon Baek | 2014, (43) | pp.333~364 | number of Cited : 5

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The Virtuality of Digital Performance - Focusing on Syntasia and Ecstatic Self

Ju, Hyunshik | 2014, (43) | pp.365~399 | number of Cited : 3

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This paper is to examine a digital performance aesthetics and style, working with digital performance Syntasia and Ecstatic Self. Digital performance is defined by computer digital technologies playing a prominent part in theatrical contents and forms beyond fulfilling a minor function of stage expression. It is the concept of 'virtuality' that this article puts an emphasis on to discuss a digital performance aesthetics. The origin of an English word 'virtuality' derives from Latin word 'virtus' that means 'powers' or 'being in powers'. Therefore, the term 'virtual' refers to an aspect of fictive, non-being but potential reality which will develop into existence. As a result, this paper will study how virtuality is constructed in terms of bodies, spaces, times, and thematics when performing Syntasia and Ecstatic Self. I think these analytic study about virtuality will provide useful grounds for examining a digital performance aesthetics and style of Syntasia and Ecstatic Self. To conclude, in spite of aesthetic limits, the fruition of Syntasia and Ecstatic Self' theatrical innovation needs to be approved. Desire to virtualize realistic things in Syntasia and Ecstatic Self accomplishes the change of theatrical perspectives, from organizing, privileging, foundational, rule-based, clear, proscenium arch's, modern stage to double, interactive, exchangeable, cycling, network's, different, other, unstable, postmodern stage. The sameness of being on stage always entirely disintegrates through sacrifice ritual like Korean Kut, Greek Dionysia. The origin of mask that is oneness and manyness at the same time comes from these sacrificial body parts which is decomposing, uncertain, transformational. So, we can speak highly of 'the events of becoming otherness' in virtual theater aesthetics of Syntasia and Ecstatic Self.

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

2014, Vol., No.43