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A study on critique of amateurism and pursuit of specialization in the 1950~60s

PARK MIRAN 1

1서울대학교

Accredited

ABSTRACT

In this paper, we examine critique of amateurism and pursuit of specialization that has been discussed in the 1960s from the 1950s, check to one aspect of Korean theaters’ thought about Korean theater. Through this, I tried to clear that awareness of the theater that propose a solution that get over amateurism as a target of the Korean theater has been associated with expression of a new generational consciousness and the conversion of contemporary theater. “Jajackgeukhoe” and many critics who appeared in the mid-1950 have criticized the “Sinpa” acting technique and immatureness of “Sinhyop”, demand for “Donginje-Geukdan” that have high degree of completion get over amateurism of the established theater. In this time Collage Theater and “Donginje-Geukdan” have secured the consciousness of a new generation in terms of being able to reform “Sinpa” acting skill of the established actors through study, and perform a task that expose the contemporary sensitivity through a new acting. With such a point, “Donginje-Geukdan” imposed on ‘study’ and ‘experiment’ based on academism, and they have acquired the professionalism of theater and present artistry theater that can’t have the established theater to audience. The professionalism is related to not the possibility of viability and commercialization of as a professional troupe but also the ability to stage of the work through the understanding and depressed about the work as a 'research community. The need for systematic education and training for the deep understanding of the new acting skill and works is achieved through association with the academy. In the 1960s including the theater Academy of Drama Center, Dongguk University, Chung-Ang University and Hanyang University were established newly theater movie-related departments, and theater major who is received professional education have appeared. It was possible that a change of acting skill and a theater at the professional level pursued by “Donginje-Geukdan” in mid-1950s. In addition, the self-consciousness that majored in theater at the academy, they can have the new generation consciousness and have separated from not only in the off-the-shelf actors but also the theater people “Donginje-Geukdan” who had worked experience in the theater circle of the University and it was possible to enable a variety of theater in 1970s. Since the mid-1950s, 'establishment of modern drama' of Korean theater have emerged newly from the system of theater through the up-and-coming theater people under the issue that must be to strengthen the expertise of theater and getting over amateurism.

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