2015, Vol., No.47

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

pISSN : 1225-7729 / eISSN : 2713-8453
https://journal.kci.go.kr/kdrama

This paper is written for an overall prospect toward Song Young's 'Literature'. There has been estimation that Song Yong achieved great accomplishment in playwriting but not in novel writing. This estimation has been a ball and chain to examine his whole 'liturarure'. From this critical mind, this paper analyse Song Young's well-known 1930's plays <Hwanggumsan>, <Yunsiilga>, <shinimisajang> by comparing his several short stories and novels written in similar period. This work desires to demonstrate that Song Young achieved the expected literatual results in both plays and novels. In 1930's novels, Song Young often tells the narratives about a husband exiled by periodical situation and his perseverant wife in many forms. <Hwanggumsan> arouses these narratives in dramatic way on the stage. In <Yunsiilga> Song young brings up the problem of poverty. This problem generates a networks of meaning about social structure by combination with scattered informations in many different novels, like <Boksuni>. Eventually, it can be said that Song Young strewed touchy social issues over his texts, and they seems to do with a huge social structure, namely the empire and colony. Particularly in <shinimisajang>, he not only showed a master satire on the capitalist class also wanted to tell the whole story about popular movements which resisted against Japanese imperialism. As a result, we can say that Song Young is not a playwright bound by class consciousness but a writer who is try to keep tension to the society in same period by gazing at the colony Chosun.

The purpose of this paper is to study the meaning that Bang Jeonghwan wrote Noraejumeoni was printed in the first issue of Eorini in 1923. This Work imitated Kobutori of Japanese Children's play in terms of dramatization an old man with a lump story and a premise staging. That is to say, Bang Jeong-hwan accepted strategy of Kobutori because of thought there was a need for this strategy in JoSun which children's play didn't take toot in 1920s. In spite of this denominator, Kobutori pursed a good child and good Japanese in school education, while Noraejumeoni practiced instructions with love outside school education. Especially We have to focus on connection between Noraejumeoni and a project of search for JoSun' old fairy tale, which was to overcome failure of a project of search for Japanese old fairy tale. Because this means possibility of post colonialism of Korean modern children's play.

In this paper, we check to one aspect of the realistic theater performances in 1950s through the contents of the drama and production of Cha beomseok and Jajackgeukhoe. The discussion of contemporary theatre is actively developed in the late 1950s, South Korea. Cha beomseok and Jajackgeukhoe was advocating a theatrical activities for the "theatrical modern". To consider the aspect that is realized in Playwriting and performances is meant to check the pattern of seeking to establish a contemporary drama. Cha beomseok and Jajackgeukhoe were against the emission of feelings and tried to conform the realistic style on the stage. Cha beomseok sought the realistic aesthetics by the character looking at the distance between himself and the reality. In the 1950s’ play works, however, distinctive characteristics are found. In <Bulmoji>(The Wasteland), <Gongsangdosi>(The Fancy City), <Ggepjilijjaejineunapeumoepsineun>(The Shell can not be torn without Pain), the characters with the subjective inner regions which is not encompassed into the objective world in the drama were appeared in his play. These figures are to be critical for the social reality reflected in the works by the awareness of the negative reality of the drama surrounding them. Their critical awareness of the dramatic reality raises the need for a sound social ethic that will enable the successful joining to that reality, and social reality also. In this way, the Cha Beomseok’s plays of this period is beyond the level of simple reproduction of reality. It is to carry out the functions of the social edification. This can be called theatrical response to the reality in the 1950s. Jajackgeukhoe’ production developed and pursued realistic reproduction aesthetics. They were seeking restraint of emotion in acting, the stage setting was trying to create an environment that meets the contemporary life. Sometimes The subjectivity of a person was reflected on the stage set, or the memory of a person was visually represented. But it was entirely without departing from the borders of the factual representation. However, the subjectivity of the characters that appear in the drama of Cha beomseok seems to conflict with such reproduction. Subjective validity of the characters in realistic reproduction had not been specifically staged, but are channeled into madness and rage. This was contrary to the acting route to pursue a disciplined behavior. It was easy to buy a reluctant of audience. And in between stage and audience, brought the inconsistency of intention and outcome. The achievement in realistic style of Cha beomseok and Jajackgeukhoe was not complete it. These activities, however, were the foundation of the contemporary realism theater in 1960’s as <Fire> shows well it.