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A Study of Park Young-ho's historical drama

이경숙 1

1고려대학교

Accredited

ABSTRACT

This treatise intends to clarify intermittent phase of ‘historical intention’ of Young Ho, Park who faced ‘colonial discourse’ planned by Japanese Empire, in other words, logic of ‘response’ and position of ‘crack’, focusing on Young Ho, Park’s historical plays, “Wonang” and “Mokwha”. This is to free from a way of judging plays of the Japanese colonial era with views of ‘pro-Japanese literary theory’, and ‘national literary theory’ or dichotomies of ‘the others’ and ‘identical person’ or ‘cooperation’ and ‘resistance’ and inquired into ‘historical purposeful’ structural methods of theatrical people in Japanese colonial era. Chapter 2, focuses a duality of desire Young Ho Park’s position has in play history of 1930s. Since Young Ho Park was a local PRO play writer who was not included in troupes belonged to the central KAPF, his plays contains desire of advancing into the central to be enthroned as the subject of PRO theatrical world. At the same time, his plays desire development of Joseon’s theatrical world by discovering ‘Joseon-like things’. ‘Historical plays’ written at the time became a means of advancing into the central as they gained public responses, and they possess dual effectiveness that could find their ways into ‘the world’s universal subject’ as they allowed manifestation of ‘Joseon-like things’. Chapter 3 and 4 analyze concrete aspect of this desire with “Wonang” and “Mokwha”, which are written based on Baekje’s history, as subjects. “Wonang”, based on imperial historical view revealed in ‘nihonshoki(日本書記)’, portrays the birth of ‘nation’ removed of class differences, and the hope that a new world can be made by local figure instead of central figure. “Mokwha” expresses the logic of fascism and the process of its aesthetication through the sacrifice of the nation gendered to female. These show how ‘historical intention’ of Young Ho Park ‘respond’ to the discourse of Japanese Empire, and at the same time, explain the positions of ‘crack’ immanent in them. It is because as ‘local/Joseon’ try to approach to ‘central/Empire,’ the intensity of ‘political ambivalence’ which carries out ‘assimilation’ and ‘differentiation’ side by side must be deepened. Thus, historical plays of Young Ho Park stay at ‘unsmooth agreement’ which accompanies ‘resonance’ and ‘crack’ through ‘Joseon-like things’ and bring forwards deficiency of the desire to the works of the national play era.

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