2020, Vol., No.68

A Study on the Adaptation of the Play Chulgabang Chujeokjakjeon(Tracking down the Steel Container) (2019)

Baek Doosan | 2020, (68) | pp.13~58 | number of Cited : 1

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This study examined three different texts concerning the play Chulgabang Chujeokjakjeon(Tracking down the Steel Container)(2019) – the eponymous original novel (2001), the play adapted from the novel (May 2019), and the play script (April 2019) – with the aim to analyze the adaptation process, as well as the difference in the dimensions and interpretation between the three texts. For the analysis, this study referred to the approaches from adaptation studies, which recognizes the process of adaptation and appropriation as a conversational structure (intertextuality) between texts. Recontextualization took place during the novel-to-play adaptation process, as the original novel was written in 2000 and the play in 2019. This paper analyzed such changes with a focus on the playwright's tendency to appropriate the original work, specifically the playwright's critical interpretation, revisions, and rewriting of the original work. In Chapter 2, this paper examined the strategies and significance of rewriting the passages on runaway teenagers, focusing on the different interpretations brought by changing "Dalsik," one of the protagonists in the original novel, to "Chulgu," and by removing the prehistory of the character Jeonghoon. In Chapter 3, this paper analyzed the significance of Suseo as a space of multiple disparities, which was newly emphasized through the rewriting of the narrative and the characters, including Dayeon, Huichan, Yoonwoo, and Minji, in the play. Suseo, in this work, signifies the periphery on the outskirts of Gangnam. But at the same time, Suseo is a space of imagery that represents the internalization of many disparities shared by the middle class after the IMF Crisis in Korea. In Chapter 4, this study built upon the previous chapters' analysis to focus on the interpretations of the protagonist, Bong Sunja, whose aspects differ in each text in terms of intertextuality. The narrative of Bong Sunja, which was focalized through the adaptation, is especially poignant as it provides an introspective glimpse into the inner thoughts of the 86 generation.

Analyzing the Adaptation of Chinese Literature in Korean Theater Through Naktasangja

Seo, Jaekil | 2020, (68) | pp.59~88 | number of Cited : 1

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Korean theater companies have been performing Chinese plays, such as The Orphan of Zhao, Farewell My Concubine, and Camel Xiangzi (Rickshaw Boy), while the translation and publication of Chinese plays have also been actively done. The Playfactory Mabangjin production of the contemporary play Naktasangja, which was invited to the Seoul Theater Festival 2019 and 2019 Seoul Performing Arts Festival, is actually an adaptation of the Peking opera version of Camel Xiangzi. This paper examines the differences in this version of Naktasangja, adapted and directed by Ko Sun-woong of Playfactory Mabangjin, from both the novel and Peking opera versions. Lao She’s novel Camel Xiangzi has been adapted into various formats, including theater, film, and opera, but the Korean production used the Peking opera version, which was written by Zhong Wen-nong and originally performed by the Jiangsu Peking Opera Company. The Peking opera adaptation of Camel Xiangzi has been called a masterpiece, as it not only is very faithful to the original novel but also takes advantage of the aesthetics of Peking opera. The most noticeable aspect of the adaptation is the early exploration of the triangular relationship between the three protagonists; in the novel, the heroine Xiaofuzi did not appear until the later stages of the story. The second feature is the very contemporary set design created by the stage art, lighting, and smoke. Third, the play incorporated the music and gestures unique to Peking opera. Fourth, the adaptation more actively features the narrator who is singing traditional Chinese songs which present themes through commentary on the episodes, figurative and symbolic expressions on the events, and internal depictions of some characters. The Korean production took the Peking opera version and added its own interpretation of the narrative and direction. The most noticeable change in the narrative is the addition of scenes that demonstrate why the protagonist has been called Camel Xiangzi and present the dialogues where Yikang forces his daughter to prostitute herself. Additionally, several characters are presented in greater depth as we can see in Yikang who sells his daughter twice. The show also incorporated several devices in lieu of song. All the songs from the Peking opera production were changed to dialogue; the director’s very unique speech called “pushing the dialogue” was added, and the division of the lines for the counterpoint is remarkable. These changes make Playfactory Mabangjin’s Naktasangja a uniquely Korean experience.

The Structure of Reversal and the Way of Comforting in TV Drama Nooni Booshige (The Light in Your Eyes)

PARK MIRAN | 2020, (68) | pp.89~121 | number of Cited : 4

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This study would investigate the way of arousing sympathy and comfort by examining the structure of reversal in TV Drama Nooni Booshige (The Light in Your Eyes). Nooni Booshige begins with the fantasy genre of ‘time slip’ in which a 25-year-old young woman became an old woman in her 70s for the cost of turning back time but converts the meaning of the narratives, revealing that the previous narratives were the old woman’s delirium in the later part of the work. This work allows the viewers to interpret the meaning by reversing the positions from a young woman to an old woman, from a parent to a child and from a fact to fiction. The narratives up to Episode 10 before the reversal deals with the process in which one acknowledges oneself and accepts oneself as a pitiful being by looking into one’s life perceived as human debris or error, shedding light on the young generation and the old generation despised or excluded in reality. Such an attitude toward life plays an important role also in the narratives, including Hyeja and Daesang’s conflict and reconciliation and Hyeja’s acceptance of life in Episode 11 and Episode 12 after the reversal. Hyeja who unconsciously transformed the remaining memories left as wounds due to helplessness to reality comes to be able to accept her previous life, recognizing the importance of having the moments she had as memories, and Daesang who considered himself her stain comes to be able to accept her life, realizing that she embraced his life. Nooni Booshige focuses on the people defined as ‘unattractive and poor’ beings by society and lives in which they could not but experience unacceptable tragic incidents helplessly in an age needing comfort. This work would accept the beings that have their life trajectories and stories as pitiful themselves. It is a work that comforts the viewers, emphasizing that ‘the present’ they have lived with the beings can be dazzling and that it is doing things with someone who recognizes and remembers them, instead of coping with it alone.

The Historical Event Representation Way and Politicality in North Korean Play-In the Case of Hyulboonmankukhoi

Lee Youyoung , YOOKJEEHYUN , Hong Jaebeom | 2020, (68) | pp.125~155 | number of Cited : 1

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1950's Hybrid(Mixed) sense of Musical drama(Ak-geuk) and Coordinate

MyungMun - Chung | 2020, (68) | pp.157~190 | number of Cited : 1

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This study produced a list of actual works based on Hwangmun-pyeong's sheet music(musical note) to interpret the appearance and meaning of the music drama(Ak-geuk) in the 1950s. The works with music and scripts were the works of Huimang(Hope)Gageuk-dan, Jayu(Freedom)Gageuk-dan. Hwang Moon-pyeong's works confirms the ability of the song to convey emotions, change mood, and replace lines. This is a result of understanding and reflecting music's influence on the sensibility of the play. Until the 1940s, music drama(Ak-geuk) plays were implemented on stage by choosing between 'sorrow' and 'comedy' emotions. Hwang Moon-pyeong and Park Noh-hong's work tries to show both emotions. The first half was vibrant, with the middle part composed of adding a sense of timidity to the character's ordeal. In the 1950s, the music drama(Ak-geuk) was maintained with overlapping actors, similar repertoires and self-replicating songs. Currently, the music drama(Ak-geuk)is remembered for its old style of singing, playing a small band and narrated by a speaker. The reason why the music drama(Ak-geuk) remains a show combined with Korean Sinpa is because it is suitable for displaying romanticism and popularity. Recently, "Mimi's Youth Theater(Hyperbolae Of Youth)"(2016) was able to produce resonant performances with the public due to the singer's performances and musical arrangement. Even if the content is the same, the genre's success or failure depends on how the performer looks at the audience. In the end, there should be a lot of interesting materials and various attempts, along with actors and music on stage. Currently, the Korean music theater market is in a 'crisis.' Musicals have a variety of problems because of their rapid growth. They include the number of works that exceed the size of the market, the production structure that relies on stars, the maniac-centered market, and the high number of commercialism. These problems are similar to the music drama(Ak-geuk) of the 1950s. This proves that it is difficult to change the environment in which the genre begins and the principles that persist.

A Comparative Study on the Narrative Structure Performance Techniques of <Jossigoa(The orphan of Chao)> - focusing on Korean performance and Greek-Chinese joint performance

sun fengqin | 2020, (68) | pp.191~229 | number of Cited : 1

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Disaster, Archive, and Image: Cultural Archiving of Disaster Memory

Hyun Seon Park | 2020, (68) | pp.231~257 | number of Cited : 4

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The way of appropriating ‘extramarital affairs’ in televisiondramas since the mid-1990s and its meaning ―Based on <Aein>, <Geojeenmal>, <Nae Namjaeui Yeoja>, <Milhoe>

Kyungseon Baek | 2020, (68) | pp.259~293 | number of Cited : 0

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KJCKorea
Journal Central

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

2020, Vol., No.68