2015, Vol., No.50

The Change of 'Daehagsaeng' of Kim Youngpal's Play and the Influence of Expressionism Drama 'Hinkemann'

Lee Jeong Sook | 2015, (50) | pp.15~41 | number of Cited : 1

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Sound-circumstances of the Theater in 1930`s and Differentiation of the Sound

Lee Kwang ouk | 2015, (50) | pp.43~91 | number of Cited : 3

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The showing of talkie has triggered to introduce the electrical sound in the theater of colonial era. Consequently, the theater has redetermined as a space that could experience the sensual border between electrical sound and acoustic sound. Such a technical changing causes differentiating the sounds in the theater. This study tries to review the development of discourses about the drama and cinema. The introduction of talkie has been come gradually, and the technical flaw of the early talkies causes the extension of effective life of the sound performers for a long time in the theater of colonial era. This circumstances require the audile techniques of the consumers to select the active communication channel for dividing the signal and noise. Moreover, such technique has formed the system of taste in accordance with the knowledge level and the cultural background of the consumers. Meanwhile, the Chosun-talkie has a purpose to make the perfect text without support of the sound performers. As a result, the acoustic sound has been expelled from the movies, and the voice that has the features such as a originality, corporality, site-ness get settled as a sound feature of the live performance including the play. The art-oriented theatrical people who regard the audile features as a essence of the drama, have emphasized the dynamism of the stage formed in the communication with the audience. And this currents have been reinforced moreover, as the theatrical people tried to define the voice as the distinctive sound feature of the play. On the other hands, the electrical sound was the effective way to transmit a sound for the wide space, and the talkie that using technically mediated sound, regarded as a media could show more realistic expression. Comparing the distinctive features of the voice and electrical sound consciously, some theatrical people of New-drama tried to reinterpret the realism of the theatrical expression. In fact, this viewpoint has started to appear from the staging of the New-drama in grand theater. Therefore, the media discourse of New-drama that emphasizing the sound of the talkie has more realistic feature than the play, was the way to justify the dialogue-centric play performed in the space beyond the transmittable range of the voice. In other words, the backgrounds of the discourses in 1930`s, like the grand theater centrism and the revising of realism, was the result of the dilemma caused by the sound-circumstance of the grand theater ; The voice should be used in the specialized space for electrical sound.

A study on critique of amateurism and pursuit of specialization in the 1950~60s

PARK MIRAN | 2015, (50) | pp.93~124 | number of Cited : 9

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In this paper, we examine critique of amateurism and pursuit of specialization that has been discussed in the 1960s from the 1950s, check to one aspect of Korean theaters’ thought about Korean theater. Through this, I tried to clear that awareness of the theater that propose a solution that get over amateurism as a target of the Korean theater has been associated with expression of a new generational consciousness and the conversion of contemporary theater. “Jajackgeukhoe” and many critics who appeared in the mid-1950 have criticized the “Sinpa” acting technique and immatureness of “Sinhyop”, demand for “Donginje-Geukdan” that have high degree of completion get over amateurism of the established theater. In this time Collage Theater and “Donginje-Geukdan” have secured the consciousness of a new generation in terms of being able to reform “Sinpa” acting skill of the established actors through study, and perform a task that expose the contemporary sensitivity through a new acting. With such a point, “Donginje-Geukdan” imposed on ‘study’ and ‘experiment’ based on academism, and they have acquired the professionalism of theater and present artistry theater that can’t have the established theater to audience. The professionalism is related to not the possibility of viability and commercialization of as a professional troupe but also the ability to stage of the work through the understanding and depressed about the work as a 'research community. The need for systematic education and training for the deep understanding of the new acting skill and works is achieved through association with the academy. In the 1960s including the theater Academy of Drama Center, Dongguk University, Chung-Ang University and Hanyang University were established newly theater movie-related departments, and theater major who is received professional education have appeared. It was possible that a change of acting skill and a theater at the professional level pursued by “Donginje-Geukdan” in mid-1950s. In addition, the self-consciousness that majored in theater at the academy, they can have the new generation consciousness and have separated from not only in the off-the-shelf actors but also the theater people “Donginje-Geukdan” who had worked experience in the theater circle of the University and it was possible to enable a variety of theater in 1970s. Since the mid-1950s, 'establishment of modern drama' of Korean theater have emerged newly from the system of theater through the up-and-coming theater people under the issue that must be to strengthen the expertise of theater and getting over amateurism.

A Study on ‘Ymul(some other object)’ of Korean traditional Puppetry

Choi Ragyong | 2015, (50) | pp.125~198 | number of Cited : 5

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The aim of this study is to research on ‘Ymul’ of Korean traditional Puppetry. In Korean, Ymul means ‘an extraneous substance’ or ‘a foreign body’. Korean traditional puppetry is three kinds―①Kokdugaksinorum ②Baltal ③Mansokjungnori. Firstly, it is Ysimi, Youngno and Cheojosae that Kokdugaksinorum’s Imul are three characters. Scondly, Baltal ’s Ymul is ‘Baltal ’. And lastly, Mansokjungnori.’s Ymul are a dragon, a carp and sipjangsaeng. Ysimi is a regional word of Ymugy. It is the creature that could not transformed a dragon. The dragon is praised as a sacred being, on the other hand, Ysimi is considered to be a monster. Youngno is counted as a kind of Ymugy, the appearance of Youngno has halfway looks between dragon and Ymugy. People see also emerging as a hybrids between dragon and Ymugy. Youngno eat very well without choosing anything. So it is compared with a legendary foreign object ‘Bulgasari’. Youngno eat all kinds of animals, as well as trees, rocks and iron. Even the man catch eat. All the people is hailed as a holly being, because it eat to choose only the corrupt officials and dirty Yangban. Besides, it symbolizes the foreign forces. So sometimes people hate it. Cheojosae(blue bird) has a picture of monster, and at the same time the image of the sacred being. Cheojosae is familiar to the people as auspicious beast, and at the same time has images of foreign forces. Baltal is somewhat stupid hillbilly look. He has bulging eyes and high cheek bones, Baltal has a big mouth like a catfish, his appearance is very ugly, and his face is filled with mold and full of wounds. He has halfy body, but a without his residence. However, Baltal does not eat people. Baltal was defied less than Youngno. Evidently, People do not see as Ymul but as human's image. Mansokjungnori ’s dragon is the most pantheistic supreme being as nature’s god. It is the god of the sea. A carp and a soft-shelled turtle are the god of land’s water. Sipjangsaeng made up of things of various ten kinds in our nature. Those are the sun, the moon, a mountain, a stream, a fine, a bamboo, a crane, a turtle, a deer and a herb of eternal youth. They are meant for perpetual youth and longevity. Dealing honorably with them is nature worship, and the unity of objects and self, the oneness of the subjective and the objective, the unification of the material world and the spiritual world. After all, Ymul of Korean traditional puppetry dissolve person’s joys and sorrow, wish for happiness of the people. In addition, They harmonize with between people and people. And, Ymul play an important role in resolving conflicts in the community (society) as a ‘mediator’. At anyway, They are “The Good, The Bad and The Weird.”

Memory of Proletarian Theatres in Pyeongyang and Cultural Politics of Space

LEE MINYEONG | 2015, (50) | pp.199~225 | number of Cited : 1