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A Study on the Poetic Drama <Surimoi>

  • The Journal of Korean drama and theatre
  • 2004, (20), pp.39-62
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology

SeungBin Im 1

1서울대학교

Accredited

ABSTRACT

Modern poetic drama of Korea made a new start in the 1920's. However, It was not until the 1960's that the poetic drama was finally established as one of the literary genre. This development of Korean poetic drama was greatly influenced by several factors­the rise of a variety of experimental mind concerning the poetry, the deep interest on T. S. Eliot, the spread of small theatrical movement at that time, the uplifted atmosphere of korean literary world on the occasion of the 400 birth anniversary of William Shakespeare. The poet Chang­ho was a central figure of korean movement of poetic drama in the 1960's. <Surimoi>, appeared first on stage in 1968, was his most laborious work which showed a revolutionary change in both from and substance. Strikingly different from other poetic drama at that time, <Surimoi> had the following distinctive characteristics: First, paying careful attention to the rhythm of line, it tried to revive and enhance the auditory function that was lightly treated and ignored in the past. Second, most of Korean poetic drama at that time were still remained as a piece of stage properties dealing with simple episode and anecdote. But <surimoi> was a full­scale multi-act poetic drama whose performance appeared on the big stage. Without getting together with other stage show, it made independent pay performance possible. Third, it mobilized a variety of methods of expression which dancing and singing were harmoniously intermingled. Fourth, it had a conflicting structure and distinctive coordinate concept, thus appealing to the emotional feelings of audiences. In these senses, <Surimoi> was significantly noticeable work reflecting a new direction of Korean poetic drama in the 1960's.

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