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Sound-circumstances of the Theater in 1930`s and Differentiation of the Sound

Lee Kwang ouk 1

1한림대학교

Accredited

ABSTRACT

The showing of talkie has triggered to introduce the electrical sound in the theater of colonial era. Consequently, the theater has redetermined as a space that could experience the sensual border between electrical sound and acoustic sound. Such a technical changing causes differentiating the sounds in the theater. This study tries to review the development of discourses about the drama and cinema. The introduction of talkie has been come gradually, and the technical flaw of the early talkies causes the extension of effective life of the sound performers for a long time in the theater of colonial era. This circumstances require the audile techniques of the consumers to select the active communication channel for dividing the signal and noise. Moreover, such technique has formed the system of taste in accordance with the knowledge level and the cultural background of the consumers. Meanwhile, the Chosun-talkie has a purpose to make the perfect text without support of the sound performers. As a result, the acoustic sound has been expelled from the movies, and the voice that has the features such as a originality, corporality, site-ness get settled as a sound feature of the live performance including the play. The art-oriented theatrical people who regard the audile features as a essence of the drama, have emphasized the dynamism of the stage formed in the communication with the audience. And this currents have been reinforced moreover, as the theatrical people tried to define the voice as the distinctive sound feature of the play. On the other hands, the electrical sound was the effective way to transmit a sound for the wide space, and the talkie that using technically mediated sound, regarded as a media could show more realistic expression. Comparing the distinctive features of the voice and electrical sound consciously, some theatrical people of New-drama tried to reinterpret the realism of the theatrical expression. In fact, this viewpoint has started to appear from the staging of the New-drama in grand theater. Therefore, the media discourse of New-drama that emphasizing the sound of the talkie has more realistic feature than the play, was the way to justify the dialogue-centric play performed in the space beyond the transmittable range of the voice. In other words, the backgrounds of the discourses in 1930`s, like the grand theater centrism and the revising of realism, was the result of the dilemma caused by the sound-circumstance of the grand theater ; The voice should be used in the specialized space for electrical sound.

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