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A Study on the Change of the Media in Theater Criticism Since 2000

  • The Journal of Korean drama and theatre
  • 2018, (59), pp.115-146
  • DOI : 10.17938/tjkdat.2018..59.115
  • 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, Taehee 1

1고려대학교

Accredited

ABSTRACT

After liberation, important periods in theater criticism can be seen in the 1970s and 2000s. In the 1970s, Yeoseokgi, which is classified as a ‘first generation critic’, launched The Theater Critic. Although it was only 10 hours or less, it was meaningful that the appearance of Theater Criticism opened the period of the magazine of theater criticism only for theater criticism. A review of dramatic plays, which had been undergoing a period of stagnation for a while, resurfaced brilliantly in the 2000s. The Korean Association of Theater Critics, organized in 1987, overcame the limitations of journalism criticism in 2000, and aimed at the growth of academic criticism. At the same time, The Performances And Theories that have emerged at the same time were also voluntary gatherings of young critics, and they opened the era of theater magazines in the 2000s with the theater criticism. The mid-2000s, the medium of theater criticism has established a point of major change in the spread of the web. The Web, which can reduce operating costs, has become a territory where new generations can grow. Starting with The Indian Bob, a webzine such as Drama In and Art Scene appeared and provided the basis of activity to new critics. Until recently, the web has become the most preferred medium for new critics to emerge.  Unlike traditional media, the web features bidirectional communication and fast propagation speed. This allowed readers to communicate faster and more directly with critics than before. They are now not just one-sided consumers, but critics of criticism and, in some cases, active consumers who participate in secondary production. Young critics who have been baptized in the media change have also set new goals in pursuit of diverse ways of communicating with active consumers, away from their primary record.

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