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The Formational Context of Spectatorship and The Habitus of Community for The Interpretation – Mainly about the Representational Meaning of the Gohaksaeng Appeared in Performing of Kim Youngilui Sa

  • The Journal of Korean drama and theatre
  • 2018, (61), pp.15-64
  • DOI : 10.17938/tjkdat.2018..61.15
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : August 7, 2018
  • Accepted : September 7, 2018

Lee Kwang ouk 1

1울산대학교

Accredited

ABSTRACT

The performance of the student traveling theater companies have a meaning in the point that actualizing the aspect of the Shingeuk which arise from the argument between Sinpageuk and Shingeuk. Especially, Kim Youngilui Sa (The Death of Kim Youngil), repertoire of the Dongwoohoe traveling theater company, is the Work provides An interesting example. Because, it succeed in guiding a enthusiastic response, despite the many flaws as modern drama text. To understand this, I think reconstruction of the spectatorship in early 1920`s is necessary, and try to focus on the driving force behind the attraction of the theater, and the cultural planning had supported that. The amateur theater company in early 1920's had many cases of staging about the life of the producer itself. The student theater company performed many of the plays focused on life of the Gohaksaeng. And The death of Kim Youngil which actively placed the motif of Gohaksaeng, is a representative work of that tendency. It should be noted that this form of confession was accepted as real story that the people of the colonized Chosun were actually going through, and This could have been a powerful reality. Moreover the spectator were not just looking into other people's lives, but accept the story of Gohaksaeng as a community issue that is directly connected to themselves. Gohaksaeng was portrayed as those who needed to take care of, such as their family members, and the support for them was quickly recognized as a duty of colonial Chosun. Therefore, the death of an innocent Gohaksaeng could give the spectator a strong sense of tragic feelings as it was identified as ‘the loss of Chosun's future’. The effect of such discourse is similar in the case of the popular supports for the Kyeongseongakdea, succeeded royal military band, being represented as a group that promotes the history of the fall of a nation. However, the process of forming a spectatorship in the early 1920s will need to be read in a more layered manner. The spectator is the one who completes the meaning of the performance, but at the same time it is also influenced by the field of a regular discourse. What can not be overlooked is that the spectator's reaction of the student traveling theater company, which is checkable today, is the result of journalism at that time, and the description process is likely to involve an image of a ‘implied spectator’ designed by the producer's cultural plan. On the other hand, the expected horizon of the theater that the spectator have in mind goes through a process of reorienting and strengthening through positive experiences in the actual performance. Therefore, while it is difficult to view the spectator as being completely autonomous, there is also the need to leave a certain area of autonomy behind. What is important is thick description for the actual process of adjusting the spectatorship, taking into account its temporal and spatial specificity. With this in mind, I try to the review the context surrounding Kim Youngilui Sa, and reconstruct the habitus of the community for interpretation.

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