2016, Vol., No.54

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

Jung Insub wrote 17 children's dramas as the person in charge of Eorini and an advisory editor Dongwha in Japanese colonial period. He created children's drama of dramatization Brothers Grimm's fairy tale and Sijo due to the consideration of interest in 1920s. The use of dance and sing is strongly marked for giving moral lessons to children in his works. However he lost ground in children's literature according to the change of children's movement and Proletarian acceptance. So he tried to write children's drama for preschooler focusing on dramatization fables and simplifying structure of drama in Dongwha. It can be summarized that children's drama of Jung Insub had three characteristics. The first aspect to point out is that he gave a motive of children's drama to take root. The second aspect to point out is that he tried and sought children's drama of colonized Choson discriminated children's drama of Japan. The third aspect to point out is that children's drama of Jung In-sub, exactly children's drama dramatization fairy tales and to use dancing and singing, is acknowledged as a model.

This paper is to examine and record the production process of Lee Gangbaek's new play Shimchung as a production dramaturgy. The play, which was originally created by the playwright, is completed as a play through creative collaboration with actors, directors, a dramaturg, and the other designers and the trail of the collaboration is inscribed into the published play. The creative collaboration of performers always play an important role in the process of completing drama as well as of the production, but the record and study about this process are still lacking. In particular, playwrights such as Lee Kangbaek are being studied mainly in the field of literature, while being regarded as a unique linguistic component of the artist. Therefore, this paper on creative collaborations of performers could be significant in that it extends the existing research horizon, which was centered on the written drama text, to the production process of drama. The author script was to make the shipowner a central figure. Shimchung's main dramatic action is that the shipowner who foresaw his death in his dream thinks his death deeply then. He see his death in GanNan and reflect his life. Gannan has been sold as a sacrifice like Chimchung. However, the performance of Shimchung was recreated centering on Gannan, who realized truly the meaning of life and death and finally decided to sacrifice herself for the sailors. And in the drama, Gannan's change is visualized theatrically through three times of traditional clothes costume change, from Gannan in rags to Gannan dressed up in a pink skirt and a green jacket, and again dressed up in a white skirt and jacket.

TV drama <Heard it through the grapevine> satirizes by looking furtively & eavesdropping the hierarchical power relations(so-called "Gab-Eul relations") in the genre of black comedy. Noticing the struggle for hegemony of “A” and “B” generating at that time, this paper intends to view how the line of vision of persons acquires power and to investigate struggle of discourse generating in each world of “A” and “B.” Han Jungho possesses formidable power by owning a lot of information through omniscient line of vision. The core of his power is information by which he can sway the political and industrial circle on the basis of manpower pool called ‘Law Firm Hansong.’ Contrary to the affirmative evaluation in the mundane world, Han Jungho acquires information by using all kinds of methods to satisfy his hypocritical greed for power. When information is furtively exchanged in the exclusive club of Hansong, camera highlights the exaggerated & absurd reality by drawing the perverted and split shape of person. On the contrary, the private life of Han Jungho couple is not protected and fully revealed by ‘B’ even in the house of Han Jungho. Satirical laughter arises and the relation of power is overturned as hypocritical and snobbish bare face is exposed unlike their archaic manner of speech. As shown in the lexical meaning of grapevine, ‘speech’ is the point that should be emphasized. Thus, the topography of grapevine is largely divided into 3 categories of discourse composition. First, it is internal discourse composition which is mainly occupied by hypocritical and snobbish speech and which pursues vertical human relation. Second, it is external discourse composition which is not brainwashed by the world of “A” and which speaks veracious speech, being satisfied with its own position. Third, it is discourse composition which is at the position of boundary. After grasping the reality of power by entering the internal world, Seobom who had once lived in the external world influences those who are at the boundary line as he changes to an independent person. Helped by Seobom and Park Kyungtae, they are incorporated to external discourse composition as they begin to speak in their own voice. Although this work is meaningful in that it presents the sense of solidarity of “B”, it is somewhat regrettable in that it stays at the poetic definition, the imaginary solution of ‘victory of B’ in the realization of genre feature of black comedy.