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Peace regime as the new vanishing point of history -Study on <Hans and Gretel> by Choi Inhoon

  • The Journal of Korean drama and theatre
  • 2021, (71), pp.315-341
  • DOI : 10.17938/tjkdat.2021..71.315
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : February 14, 2021
  • Accepted : March 17, 2021
  • Published : March 31, 2021

Ahn Seo Hyun 1

1인하대학교

Accredited

ABSTRACT

Choi Inhoon, who has been focusing on the creation of plays for a while, wrote <Hans and Gretel>(1981) the play with a fictional theme that differs from the original play creation of him, which is closely related to changes in domestic and foreign circumstances. In Korea, a space for political discourse was opened for a while in the face of the “Spring of Seoul,” which was conceived as a space for Choi to unfold the theory of unification from the beginning. Overseas, the atmosphere of Detente was rising day after day with the declaration of Helsinki and the enactment of the World Peace Day. Choi’s <Hans and Gretel> is an extension of novels such as “Chondok’ui Sori(The Voice of the Governor’s)”(1967-1976) and “Soseolga Kubo Ssi’ui Ilil(The Daily by Novelist Kubo)”(1969-1972). While writing this work, Choi made the 7.4 South-North Joint Statement as a “vanishing point” of world history, and in <Hans and Gretel>, he is looking for a vanishing point beyond that of the peace regime after the Potsdam regime. To this end, the history of World War II is transformed through assumptions, exploring Detente’s political potential to the maximum, and confirming the direction of history: the end of the Cold War and restoration of personal lives. As a premise for this, it was the creative intention of <Hans and Gretel> that embodied the reflective subject of history.

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