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Representation of Female History and Reconstruction of Cultural Memory in Play Hwajeonga

  • The Journal of Korean drama and theatre
  • 2021, (72), pp.45-69
  • DOI : 10.17938/tjkdat.2021..72.45
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : May 12, 2021
  • Accepted : June 12, 2021
  • Published : June 30, 2021

YANG GEUNAE 1

1명지대학교

Accredited

ABSTRACT

This research focuses on the play Hwajeonga: Spring Picnic written by playwrite Bae Sam-sik and examines aspects of how it represents female narrative on the stage with the perspective of reconstruction of history and cultural memories. Bae Sam-sik wrote the play for the request to celebrate the 70th anniversary of National Theater Company of Korea(NTCK). In this play, he examined the possibility of female narrative by shedding light on the females who remained in noble family houses in Andong area and played as independence activists in Japanese colonial era. The more works deal with historical events that are tense with the formation of a nation, the more national opportunities drive the play. However, the play Hwajeonga reconstructs 'cultural memories' by placing official history in a surplus position. Particularly noteworthy in this research is the time of the play, in April 1950. Hwajeonga recounts known historical scars through cultural memories by shaping the time just before the Korean War, not during it, as the time of 'indication' and 'portent'. In addition, it is noted that all nine characters are women because they serve as the basis for portraying the everyday realm hidden outside of huge history. This work is meaningful as an attempt to raise the threshold of portraying female figures in history amid the limitations of the times when they were bound to be subordinated to their fathers or husbands. War-related narratives are conducted in a discoursive manner throughout official history, and commemorative plays have reflected such dominion discourse. However, plays that reveal human suffering and sadness by noting blanks in the ruling discourse lead to the future through collective and cultural memories, not actual experienced history. From this point, Bae Sam-sik's play is valued by portraying a reconstructed history of women's narratives.

Citation status

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