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A Study on the Representation of Women in the Korean Performing Arts Movement in the 1970s~80s ―Focusing on gender justice and the horizon of democracy

  • The Journal of Korean drama and theatre
  • 2021, (71), pp.139-171
  • DOI : 10.17938/tjkdat.2021..71.139
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : February 16, 2021
  • Accepted : March 7, 2021
  • Published : March 31, 2021

Park Sang-Eun 1

1서울대학교

Accredited

ABSTRACT

This paper seeks to trace the change in the representation of women in the performance texts of the performing arts movement in connection with the Korean democratization movement in the 1970s~80s and to clarify the meaning. The problem consciousness of this paper is to clarify the democratic horizons that appeared in the performance texts of the performing arts movement of the time in terms of gender justice. This is because if the texts are recontextualized in terms of gender justice, it is subdivided in the discourse of identity of the anti-regime Minjung movement, but it is possible to re-examine the aspects of democracy that were sought in a valuable way through the style of “performance”. This is not limited to the subject of creation, but is related to presenting the meaning of seeking and practicing the public good of the time by re-examining the definition of gender in the performances created by intersecting the purpose of the performance's planner, audience, and Minjung movement. This study focuses on the fact that women may be subject to the test in the name of Minjung, the sense of patience and pain, and the fact that meeting beyond differences served as a major opportunity to promote the level of gender justice in a different way. It is a point. Therefore, this paper assumes that it is an effective dimension to re-examine the sense of performances of the period from the viewpoint of gender justice, and reveals the peculiarity of the female representation pattern that appeared in each period. In the texts of the performing arts movement in the early years, the gender agenda was not visible, and rather, women's sexuality was distorted by the collective catharsis and popularism of the anti-regime movement. This wasn't just a matter of timing. In the 1980s, as the normativeness of the planning of the labor movement within the people's movement was strengthened, the teleological discourse of labor and the gender agenda were unevenly intersected. Nevertheless, the renewal of gender justice shown in the case drama of women's labor in the mid- to late 1980s is an important scene in which contemporary inequality and insults are infested through the reflection of sanctions seen as a'microscopic dimension' in the process of reflecting the voices of the field and the changed way of expression. I put them in. As such, the dimension of gender justice, which appeared in the performance texts of the performing arts movement in the 1970s and 1980s, has an antagonistic relationship with the normative representation of populism or workers, and shows renewed through encounters with the field. The updated dimension of gender justice based on the pain in the field and the sensitivity to the voice of the person concerned shows a mature horizon of the search for democracy that was possible through the performance-meeting, which is a meeting beyond the difference between class and kinetic purposes.

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