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The Problem of death consciousness and community in Kim Woo-jin's play-foccused on ‘Nanpa’ and ‘Sandoiji’

  • The Journal of Korean drama and theatre
  • 2020, (70), pp.13-48
  • DOI : 10.17938/tjkdat.2020..70.13
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : November 9, 2020
  • Accepted : December 15, 2020
  • Published : December 30, 2020

Kim Minju 1

1중앙대학교

Accredited

ABSTRACT

The purpose of this paper was to identify the concept of Kim Woo-jin's death as a subject of independent reading, rather than to read the death of Kim Woo-jin himself, and to explain and narrower the gap between Kim Woo-jin's social and internal writing. In order to do so, the writer's tendency and the theme of death were fully discussed, mainly relying on Blanchot's "Dehors" concept, and "Nanpa" as an extension. Following the development of the discussion, the diaries and letters of Kim Woo-jin also included the author's consciousness as a basis for discussion, judging that there were some textual parts. Attention was drawn to the fact that Kim Woo-jin's creation was a result of active writing. In previous discussions, Kim Woo-jin's death concept was often identified as an extension or one of the concept of vitality, so that in this paper we wanted to read Kim Woo-jin's play with a new concept of communication and community. The death that appears in Kim Woo-jin's work makes those who remain after someone’s death newly form and have meaning. In addition, Kim Woo-jin as a critic makes social writings, while Kim Woo-jin, a writer, shows an abstraction and concept that is not much different from the diary in poems and plays, borrowing the concept of Blanchot and viewing it as a "dehors" and showing the beginning of the community's openness. The community speaking here is through mourning and suspicion of existence after death. When looking at "Nanpa" and "Sandoiji" under the theme of communication with humans after death, it is believed that death plays a role in the writer's work by recognizing his location and historicality through outside experience and strongly identifying the starting point of transformation. As a result, many commentators pointed out Kim Woo-jin's death as a sign of communication that functions in a completely different way and prepares for the opening of the community, rather than a different name for life. It is meaningful to read Kim Woo-jin's plays in the 2020s, given that the community is not limited to the Joseon community that shares that era with Kim Woo-jin, but is a preliminary community that must be formed as long as humans are meant to be dead.

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