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A Study on the Acceptance of Traditional Performance Styles by Yoon Daeseong in his works and his Expression of Reality

김현철 1

1東北大學

Accredited

ABSTRACT

The purpose of this paper is to observe the meanings and limits of Yoon Daeseong's works. Yoon Daeseong has strived to express the problems of reality at the time through his acceptance of traditional performance styles. Yoon Daeseong is a well-known producer in modern Korean theatre history for being a pioneer in making various attempts to search for the identity of Korean plays through his acceptance of traditional performance styles. However, he suddenly proclaimed his discovery of limits in his attempts to produce plays through this acceptance of traditional performance styles and he began his attempts to express the problems of reality in a new way. This paper, having the fact in mind that the problem of creating traditional plays in modern ways is yet to be solved, has observed the meanings and the limits of Yoon Daeseong's attempts. The first point to note is Yoon Daeseong had much interest in mask dramas and jester plays which are generally built upon a light-hearted and optimistic view of the world. However, the dramatic ideas found in Mangnani(Headsman), Nobidocument and You Get Away with this Bite are completely opposite to the mask dramas and jester plays for they portray depressing, sad ideas and are set in a dark and pessimistic world. Secondly, characters that are optimistic and enthusiastic cannot be found in works by Yoon Daeseong. The only characters that can be found are mostly of depressing nature or dim characters. Thirdly, it can be seen that a mask drama scene was intentionally put into Mangnani(Headsman) and Nobidocument in order to function as a comic relief. But rather, these scenes ended up appearing awkward in their places in the general atmosphere of the plays. However, Yoon Daeseong has produced a relatively flawless play through careful acceptance of a traditional play's inner principles in You Get Away with this Bite. Yet, he still felt limits to the acceptance of traditional play styles. It was his refusal to accept the basic characters and views of the world found in traditional plays. A view of the world that affirms reality together with an optimistic free-spirited character overflowing with enthusiasm could not fully express the gloominess and absurdity of reality. In the end, due to the differences in these basic views of the world, Yoon Daeseong gave up his attempts to produce by acceptance of traditional plays and attempted a new method to aggressively express the relevant problems of reality.

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