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Groping for the Study Approach on Accepting the Foreign Theatre in Colonial Korea - the Theatre, Carmen

  • The Journal of Korean drama and theatre
  • 2018, (59), pp.13-50
  • DOI : 10.17938/tjkdat.2018..59.13
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : February 7, 2018
  • Accepted : March 12, 2018

Kim, Jae Suk 1

1경북대학교

Accredited

ABSTRACT

The aim of this study is to introduce 'the Archaeological comparative theater study' and to present its practical use through the study of Towolhoe's Carmen. It is the most difficult problem in studying the modern theatre in colonial Korea that the scripts of foreign theatres is not left. In this situation, the Archaeological comparative theater study is groped as the way to solve this problem when it is impossible to study the direct comparison between them. It is the object of the archaeological comparative theater study to reconstruct the concrete situation of the performance by means of its trace which the foreign theatre performance left in the colonial Korea and to find its theatrical meanings. This study is carried out in three parts; study on the original work, the study on the inflow process of the work, and the study on its influence on modern drama in colonial Korea. Towolhoe performed the theatre, Carmen twice in 1924 and once in 1926. Because the performance of 1926 in which Yun Simdeok appeared as Carmen had something to do with third period Towolhoe's temporary dissolution, it has an important meaning in the history of modern drama in colonial Korea. It was considered impossible to study the theatre, Carmen, since the script used in the performance of Towolhoe was not left. Through the study on the original work, I confirm that Carmen in opera is a dignified and honest woman who wants to live her life. The opera, Carmen that had come into Japan was adapted into Geijyutuza's theatre through Asakusa opera. In this process, it was changed as the story of a man character, Don José under the influence of Japanese love-suicide drama. Owing to it, Carmen came to have the strong image of a wicked woman who makes a whim between money and love. Such results are confirmed through the study on its inflow process. The results are utilized in the study on the influence on modern drama in colonial Korea. Towolhoe accepted Geijyutuza's theatre, Carmen which had pre-modern perception of male-dominated and translated this work as the warning to a woman who was beautiful enough to the downfall of a country. Don José and Carmen was placed in a composition of good and evil and the pre-modern perception of male-dominated was more strengthened. In the performance of 1926, the songs used in the performance of Geijyutuza's theatre was inserted for Yun Simdeok, which made this performance the dependent work of Japanese performance with little their own interpretation. Its pre-modernity and inherent vulgarity caused Yun Simdeok's repulsion and worked as the causes of main members' withdrawal and the third Towolhoe's temporary dissolution.

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