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Play for Whom: The Question of Contemporary 'Citizen' Theatre and the Boundary of Theater Arts ―Focusing on <Apado Mi-anhaji Anhseupnida>(2020)

  • The Journal of Korean drama and theatre
  • 2022, (75), pp.11-45
  • DOI : 10.17938/tjkdat.2022..75.11
  • Publisher : The Learned Society Of Korean Drama And Theatre
  • Research Area : Arts and Kinesiology > Other Arts and Kinesiology
  • Received : March 14, 2022
  • Accepted : April 17, 2022
  • Published : April 30, 2022

Park Sang-Eun 1

1서울대학교

Accredited

ABSTRACT

The avant-garde of art originates from a new questioning on the utility of expression/enjoyment/creative subject/art in the contemporary horizon. If on one side of the spectrum of contemporary theatrical avant-garde, attempts to expand the sense of presence-based theatrical performance based on technical help can be placed, on the other hand, wouldn't it be possible to position the acting of non-artists? The acting of non-artists shows the phase of maximizing the effect of performing while actively utilizing the intrinsic properties of actors, existential encounters, and plays. If it is possible to give the name of avant-garde to the latter trend, which is the most simple in terms of technology and media, what is the reason?In this study, the performance about the right to disease, <Apado Mi-anhaji Anhseupnida> (2020), and the citizen play <Apado Mi-anhaji Anhseupnida> (2020: planned by Jin-Hee ChoHan, directed by Hye-Kyung Heo) was conducted in March 2020, after openly recruiting participants. From July 11 to 12 of the same year, it was performed at Ieum Art Hall in Daehangno, and was released online from July 11 to August 31. Since then, it has been staged in various groups and communities, and in November 2020, it won the Red Award in the ‘Notable Eyes’ category, and in April 2021, it was nominated for the theater category at the 57th Baeksang Arts Awards. The purpose of this study is to examine the meaning of contemporary amateur plays asking questions about 'citizens' and the intrinsic properties of plays such as actors/actual space/audience and their utility. Chapter 2 examines the forms borrowed from the production, creation, and performance of plays. In the preparation process, various types of training based on improvisation were used as a way for the sick body-actors to face the experiential truth. Instead, he led the audience to the dimension of understanding and reflection. In this performance, the sick body-actor's acting and proper use of form break away from the victim frame where the individuality can be lost, and the unskillfulness, trembling, and accidental tears evoked by the name of an amateur actor create a close connection between the audience and the stage. made it act as a medium. Chapter 3 analyzes how the traditions and methodologies of participatory theater effectively reveal the politics of difference in the practice process, creation and performance process, and examines the segmentation and continuity with amateur theater that has been linked to political struggles in the history of Korean modern and contemporary theater movements. By utilizing the tradition of participatory theater during the practice process, the actors were able to become conscious of the social gazes embodied in their voices and movements, and to face emotions-thoughts that they could not visualize. The manifestation of the moments of incomprehension that the sick body had to experience is realistic because it accurately analogizes the moments of alienation and inability to communicate that we had to face in multi-layered human relationships, social and cultural networks, and institutional frameworks. Furthermore, the sick body expanded the composition of the group, leading to question the here-and-now economic productivity standards and socio-cultural conditions and climates in which individual people were viewed as alternative resources. In the era of expansion and development of various media technologies, theater plays a pivotal role in creating an 'organized and public cultural form' for a better life. <Apado Mi-anhaji Anhseupnida> was created by the intersection of the theater's original aesthetic dimension of the actor's body, the realization on stage, and the attributes of play and ritual, the tradition and new methodologies of participatory theater, and the citizen actor who is sick. Just as the stage of a disease-sector play that sought emancipatory identity made it possible to reflect on contemporary citizenship, we should look forward to the emergence of another 'continuous' civil drama.

Citation status

* References for papers published after 2022 are currently being built.