장르인식과 시대인식, 비극 장르와 정동의 동력 - 김정진의 <기적불 때>(1924)라는 문제적 작품 소고(小考) -

김기란(Kim, Ki-Ran) 우리문학회 2021 우리文學硏究 Vol.- No.69

이 글에서는 염상섭을 매개로 『동아일보』의 기자이자 『폐허이후』의 동인으로 활동했던 김정진의 비극 <기적불 때>를 살펴보았다. 김정진의 문사(文士)로서의 삶은 1920년대 초 소위 동인지 문학 시대 『동아일보』에 근무하며 본격적으로 희곡을 발표하던 생애 시기로부터 시작되었다. 하지만 그동안의 김정진에 대한 연구가 개별 작품 분석에 한정되고, 작품을 희곡사적으로 평가하는데 그쳤던 탓에 김정진이 문사로서 1920년대 위치했던 지점을 종합적으로 고찰하는 부분은 간과되어왔다. 20년대 소위 동인지 문학은 동인지라는 미디어와 문학이라는 미적 자율성을 요구하는 영역의 만남으로 가능했다. 이런 배경을 반영하여 이 글에서는 김정진이 1920년대 문사로서의 삶, 극작가로서의 정체성을 정립하는 과정을 염상섭과 문인회, 『폐허이후』의 맥락 속에서 살펴보았다. 언론인과 문사의 삶을 횡단하며 아나키즘을 바탕으로 문학관을 정립했던 염상섭을 롤모델 삼아 자비 일본 유학생이라는 배경을 공유하며 김정진 역시 유사한 행보를 모색했다. 김정진은 자신의 태생을 부정해야 하는 운명, 그것을 이겨내고 새롭게 갱생하려는 의지를 자신의 문사로서의 출발에 투영했다. 그 결과가 뛰어난 극작법으로 완성된 그의 첫 본격 희곡이자 비극인 <기적불 때>이다. 이 작품은 새드 스토리의 비극적 정조가 아닌, 정동을 환기하는 비극의 극작법을 통해 20년대 개인적인 문제인 동시에 사회적인 문제였던 감정의 동력을 보여주었다. 그 결과 식민권력의 검열의 대상이 되기도 했지만, 그것은 역설적으로 이 작품이 지닌 감정의 공적 활용 가능성을 인정하는 것이었다. In this article, I examine the tragedy When Machine Signal Bells by Kim Jung-jin, who was a journalist for Dong-A Ilbo newspaper and a member of the coterie literary circle After Ruin through the famous writer Yeom Sang-seop. Kim Jeong-jin"s life as a literary intellectual began in the early 1920s, during the so-called "Coterie Literary Circle" era, when he published plays in earnest. However, the study of Kim Jung-jin has been limited to analyses of his individual works and evaluations of their status in the history of drama. Studies have not been undertaken to synthetically comprehend the point in literary history where Kim Jung-jin was located in the 1920s. The so-called Coterie Literary Circle era at that time was possible as an encounter between the media of coterie literary circle magazines and literature requiring aesthetic autonomy. Reflecting on this background, this study examines the course of Kim Jung-jin"s life as a literary-intellectual in the 1920s and his identity as a playwright in relation to Yeom Sang-seop, the literary society, and After the Ruin. Kim Jung-jin also sought to follow in the steps of Yeom Sang-seop, his role model, through their common background as international students in Japan. Yeom Sang-seop established a literary view based on anarchism across the lives of journalists and writers. Kim Jeong-jin was denied by his blood-family, but he overcame this and renewed himself as a playwright. When Machine Signal Bells, his first full-length play and tragedy, which was composed with excellent dramaturgy, presenting the possibility of the public expression of emotions regarding both personal and social problems in the 20s, through a tragic technique that evokes tragic affect. As a result, it was subject to censorship by the Japanese colonial authorities, which paradoxically recognized the work"s emotional power.

한국 현대 연극의 가족이야기와 가족정체성 고찰 : 가족무대(Familienbuhne) 구성의 수행적 과정 분석을 통해

김기란 ( Ki Ran Kim ) 한국드라마학회 2012 드라마연구 Vol.- No.36

This dissertation intends to examine the family-plot in the korean theatre of 2000s when the deconstruction of the traditional family-ideology and construction of new family-identification in the family-plot is appearing with the postdramatic strategy. Family-plot which has arranged patricentric order in the family is the modern narrative, but in the postmodern the patricentric order in the family has been doubtful as the kind of suppression like the demand for self-sacrifice of individuals. The korean theatre has staged the family-plot in two ways in 2000s ; the consolidating of family-ideology and the deconstruction of the traditional family-ideology. This dissertation notices that the latter intends to deconstruct the traditional family-ideology and construct the new family-identification with the postdramatic strategy of making "Familienbuhne". The postdramatic strategies can be analyzed juxtaposition and standstill of time and refusal of making family, which are proper to reveal the problem of family-identification and -ideology. In this dissertation examines the three stages of Kim Nack-Hyung, Kim Hyun-Tack, and Choi Chi-Ahn. They concentrate on the deconstruction the traditional family-ideology to make the new Familienbuhne. 본 논문에서는 2000년대 이후 공연된 한국 연극 중 가족이야기를 다룬 작품을 중심으로, 가족무대(Familienbuhne) 구성 과정의 변화를 포스트드라마적(postdramatic) 전략이라는 관점에서 분석했다. 다문화시대에 돌입한 한국 사회에서 당연한 것으로 수용되어 온 혈연 중심의 가족 관계를 새로운 시각에서 성찰할 수 있는 가능성, 포스트드라마 연극의 전략은 바로 그 지점을 유의미한 문제제기로 환기시킨다. 가족은 인류의 삶에서 절대적 정당성과 자연성을 가지는 초역사적인 고정된 실체라는 본질주의적 입장은 "가족은 그것이 없는 곳에서 가족을 발명해낸다"는 문제의식을 통해 해체될 수 있다. 가족 그 자체의 내용은 보수적이거나 봉건적이라고 평가할 수 없지만 가족이라는 개념이 발명되고 구성되는 사회적 역학 관계에 따라 가족 혹은 가족중심주의는 보수적이거나 봉건적인 성격의 가족이데올로기를 내장하게 되므로 가족 혹은 가족중심주의의 발명 과정 자체를 문제시하는 태도를 통해 폭력적 가족이데올로기는 해체될 수 있다. 본 논문에서 2000년대 이후 본질주의적 가족이데올로기를 해체하려는 전략을 포스트드라마적 실험 형식을 통해 구현한 공연에 주목한 것도 그 때문이다. 가족이야기를 무대화하는 방식이 드라마(drama) 형식에 의지할 경우, 그것은 흔히 가족과 사회 현실을 대립시키는 경직된 이분법적 도식 속에 구축된다. 난폭한 현실(사회)과 그로부터 자식을 보호하는 어머니와 아버지의 절대적 희생이 갈등을 일으키는 대립항으로 설정되고, 난폭한 사회 현실을 재현한 사건이 극적으로 추동되며, 난폭한 사회현실을 극복하는 대안으로써 가족관계를 긍정하는 결말을 통해 드라마 형식은 기존의 가족관계를 재생산하는 결과를 가져온다. 이에 반해 "연극 기호를 사용하는 방식(모드)이 근본적으로 변화"된 새로운 형식으로 드라마 형식을 해체하는 포스트드라마적 전략은 "과정으로서 연극, 비-텍스트성, 모든 장소성, 반-미메시스, 몸짓성(Gestualitat), 빈 공간" 등의 요소를 통해 전통적 가족이데올로기 혹은 가족중심주의의 발명 과정 자체를 문제시하는데 효과적이다. 특히 본 논문에서 분석틀로 활용한 "가족무대(Familienbuhne)" 개념은 2000년대 이후 한국 연극의 가족이야기 속 가족정체성의 변화를 포스트드라마적 전략과 관련시켜 분석하는데 효과적으로 기능한다. 가족무대는 본래 일상의 삶을 영위하는 인간은 가족을 구성하기 마련이라는 전제 아래 특정 집단이 가족으로 구성되는 과정에서 일어나는 일련의 행위를 분석하기 위해 문화인류학에서 사용한 개념이다. 인간 행동을 문화인류학적 관점에서 분석한 가족무대라는 개념은 "현실의 세계는 그 자체 항상 공연을 통해서 연극적으로 구성된다"는 요시미 슌야의 조언을 떠올릴 때, 가족이야기를 다룬 연극 무대 위 극행동의 분석에도 적용될 수 있다. 곧 가족이야기를 구성하는 무대 위 극행동은 현실에서 가족무대를 구성하기 위해 수행되는 일련의 의식적 행위와 유비적으로 이해될 수 있다. 따라서 연극 무대에서 가족무대를 구성하는 과정을 분석하여 전통적 가족무대의 해체와 새로운 가족무대의 구성 과정에서 드러나는 차이를 고찰하면 가족정체성의 변화와 그로 인한 가족관계의 균열과 틈을 특히 선험적으로 작동하는 가족이데올로기로부터 거리를 두고 객관화하여 살펴볼 수 있었다. 가족무대의 구성과 해체의 과정을 무대 위에 제시할 때, 포스트드라마적 전략이 유효하게 작동하는 것이 바로 이 지점이다. 2000년대 한국 연극에서 포착된 포스트드라마적 형식은 전통적인 규범으로 규정된 가족 관계를 묻는 방식을 변화시켜 가족 관계에 대해 새로운 관점을 제시하는데 효과적으로 기능했다.

현대 공연예술의 시노그라피(Scenography) 고찰 : 아힘 프라이어의 < 수궁가 >를 통한 시각적 극작법 분석

김기란 ( Ki Ran Kim ) 한국드라마학회 2014 드라마연구 Vol.0 No.42

In 2011 September, as the opening performance of the World Festival of National Theater, Mr. Rabbit and the Dragon King(Sugungga) known as the korean Pansori tradition was staged in the form of “Pansori-Opera” under the directorship of the German stage director Achim Freyer in Seoul. His stage directing strategy is so- called scenography(visual dramaturgy) which belongs to new theater or postdramatic theater. As visual dramaturgy, his stage directing in Mr. Rabbit and the Dragon King(Sugungga) is like this ; including costumes in Handhok(korean traditional dress) color and texture, paper mask, a stage floor reminicent of eastern landscape, and the bold, black-color lined curve backdrop extending beyond the left and right rings to the audience seats, the pictorial stage like a 2-dimensional picture was presented. In the center of the stage was built a spectacular structure on which a singer-commentator(played by Ahn Suk-seon), unlike the characters with flat masks, was the only one who appears in a real, 3-dimensional face. She was performed a kind of Frame, correctly speaking, as a “Parergon”. Parergon is located in and out of the work(Ergon) at the same time. And its scenography strategy is to present space time in a new mode. 본 논문의 목적은 현대 공연예술의 시노그라피(Scenography) 전략을 살펴보려는 것이다. 현대 공연예술의 시노그라피는 텍스트를 시각적으로 재현하는데서 나아가 독자적 의미를 구성하는 표현 방식으로 변환되고 있다. 현대 공연예술의 시노그라피는 단순한 무대 장식 미술을 뛰어넘는 시각적 극작법으로 이해되며 시노그라피를 구성하는 작업은 드라마투르기의 작업과 유사한 것으로 수용된다. 시그라피를 통해 ‘연출된 장면’ 혹은 ‘함의된 이미지’는 일종의 무대미술적 드라마투르기이자 동시에 미장센과 동일한 표현이다. 이때 시노그라피는 공연 텍스트와 종속적 관계를 맺는 것이 아니라 등가적 관계를 맺는다. 현대 공연예술에서 시노그라피의 구현 방식은 연출가마다 다르게 나타난다. 본 논문에서는 1980년대와 90년대 오페라와 연극에서 시노그라피를 주요 표현방식으로 구현한 아힘 프라이어(Achim Freyer)의 시노그라피 전략을 일종의 시각적 극작법으로 이해하고 살펴보았다. 아힘 프라이어는 1972년 서독에 정착한 후, 무대 미술가로서 ‘독일의 로버트 윌슨’이라 불릴 만한 파격적인 무대를 선보이며 세계적인 명성을 얻은 시노그라퍼(scenographer)이다. “마치 화랑을 방문한 것 같은 경험을 제공한다”는 아힘 프라이어의 무대를 한국의 관객들은 2011년 9월 국립극장에서 경험할 수 있었다. 본 논문에서는 < 수궁가 > 분석을 통해 아힘 프라이어의 시각적 극작법 곧 시노그라피 전략을 살펴보았다. 특히 “희곡은 읽거나 듣거나 보는 것”이라고 주장했던 거트루드 슈타인(Gertrudestein)의 “풍경희곡(Landscape Play)”의 개념처럼, 희곡텍스트를 읽는 것에서 나아가 듣거나 보는 것으로 전환하여 희곡텍스트의 극행동을 시각적 은유와 상징의 이미지로 구성하고 시공간의 흐름을 미세한 변성(變性)으로 표현한 점을 분석했다. 결론적으로 아힘 프라이어는 시간과 공간, 극행동을 시각적으로 제시하는 시노그라피 전략을 통해 과학기술을 기반으로 한 영화에서나 가능했던 시공성을 연극적 도구와 방법으로 연극 무대 위에 표현함을 알 수 있었다.

역사, 연극, 문화적 기억 - 기억/망각의 역설이 작동하는 역사의 무대화 방식 일고찰

김기란 ( Kim Ki-ran ) 한국드라마학회 2017 드라마연구 Vol.0 No.53

In the late of the 1980s, memories began to appear in history study as a ‘memologic turn’ which has been interested in the way how the past was remembered. In the same context, recent discussions on the contemporary East Asia have attempted to understand contemporary East Asia as conceptual geography beyond the physical and geographical boundaries of the country. In the conflicts between Korea and Japan about Japanese military sexual slavery, historical reality over the East Asia can not be built by a national history. This is because why a memory can be paid attention in modern East Asia history and a different East Asia can be built according to the notice of which memory attends. In this article, we share this issue and analyze recent theatre works of contemporary East Asian history, and examine the patterns of intermediating between history and cultural memory. This is the part of the efforts to reflect the mechanism of historical consciousness made through the cultural tools in now and here. Historical consciousness is not fixed but constructed in the reality of now and here. The stages on historical performances serve as a cultural tool and pull out the process of constructing a historical consciousness in audiences. In this article, the korean stage with history like <만주전선> by Park, Geun Hyung, <가모메(カルメギ)> by Junosuke Tada and Sung and Ki Woong, and <서울시민>, <서울시민 1919> by Hirata Oriza are analyzed and examined how it functioned as cultural tools and it reminded the cultural memory about the 1900s, the era of modern East Asia when Japan began to invade the other countries. This is not reminding of past events or experiences through memory, but rather reflecting the memory of how it is formed to the now and here context. Memory is not fixed, but it is constructed now and here, and audiences who mediate the process of remembering constitute historical consciousness actively. In short the field of memory can be meaningful when presenting an unforgettable argument.

대한제국기 극장국가(theater state) 연구(2) -스펙터클의 문화사회사적 분석을 통한 문화적 퍼포먼스 고찰의 한 방법-

김기란 ( Ki Ran Kim ) 한국연극학회 2010 한국연극학 Vol.0 No.40

This is the study on the `Theater State` in the Daehan Empire of the Emperor Gochung in the late 1900 with the theatrical concepts of cultural performance theory which has been useful for investigating historical, social, and cultural collective memories and their transformation mechanism in the society. The performance theory is based in the notion, `Performativitat`, by which the performance can contain vary performance forms. Performativitat is the notion which points up the certain process that can cause the perceptional emotion communication to the performers and audiences in the performance. The spectacle of a society is also understood and presupposed by the Performativitat. Generally speaking, the spectacle has been used of explaining the visual cultural experiences in society. Fundamentally, spectacle had resulted from the latin `spectaculum`, which was used to designate theatrical representation in France. In the case of movie, spectacle was the grand show with showy technological attractions. The spectacle have been to show the political and socio-historical relationships in a society. But in my study, I want to start the premise that the cultural performance planed by the Emperor Gochung in the Daehan Empire has the attribute of `theater state`, which can awaken the certain collective emotion to connect the Emperor and his people in the Daehan Empire period of the Emperor Gochung of the late 1900. In addition to it, I search for the historical collective memories of the Daehan Empire. The government of the Daehan Empire was continuing with its efforts to enforce and recollect the imperial images and authority of the Emperor and his Empire to get the approval of the people and international society. The effect of spectacle consisting of theater state was the concrete effort to establish the collective memories of the Daehan Empire by remodelling and rebuilding the Seoul, the capital of the Empire and performing the national ceremony such as the korean pagent(Gae-Dung거둥) and parade to set the portrait of the Emperor(A-Jin어진), the geo-body of the Empire.

감각 나눔의 윤리, 문화예술의 책무 -행동주의 연극의 정치성과 재현의 윤리

김기란 ( Kim Ki-ran ) 한국드라마학회 2017 드라마연구 Vol.0 No.51

This paper reflects on the ethical attitude and responsibility of the art creator and the audience in representing the pain of others. Especially, I tried to examine the ethics of self-reflection in the so called postdramatic theatre, which shows activism by representing the pain of others. The way in which culture and art intervene in reality is not limited to contents of the message. Sharing the pain of others on the stage is also one way in which art intervenes in reality, and this is a feature of the postdramatic theatre that drives activism. However, we can not overlook the moral of the creative artists and audiences, who represent and watch the pain of the others. Because `justice does not justify undue means.` In activism theatre, it is basically difficult to distinguish between the creative artists and audiences. This is because performances in the activism theatre are assumed to be performed by the creative artists and audiences together to seek social actions. This is why it is possible to discuss the ethics of the producers and the consumers of the performances together in this paper. The dramatic representation that creates illusions is understood in a way that maintains a certain distance to pain, unlike the presence of pain, through the process of artistic processing. However, it is difficult to confidently draw out practical actions that are ultimately driven up by the representation of pain with putting the distance. It is also difficult to satisfy self-reflective ethics of the voyeuristic desire to represent the pain of others with the intention or attitude of simply sharing the senses, if the actual sensation of pain is foregrounded instead of the representation. The sense itself can not be ethical. The represented pain of others can be objected by the creative artists, and can be in stimulating the voyeurism of the audiences. This is why the ethical self-reflection of the creative artists needs to be. The expression of pain is `self-expression and appeal to the interest of others`. But we can sympathize with the pain of others for a moment, but it is not easy to make it ours - The philosopher Levinas also argued that the pain of the others is not reduced to ourselves by any means and thus it is impossible to represent the pain of others without the help of ethics. In this paper, I have reviewed ethical issues in representing the pain of others through < Tell Her > and < Therefore, porno >. The method of representing the pain of others revealed in these works is used as an example in terms of presupposing the ethical and practical attitude on representing the pain of others to analyze the possibility of ethical self-reflection. The creators of < Tell Her >, who were located outside pain of others, who wanted to avoid objectification by choosing a position as an objective observer of represented pain, had to be interpreted as irresponsible observer regardless of the intention. As < Therefore, porno > shows, it can be way to overcome the contradiction of the inherent reasoning of identity by tying my pain to redeem the other`s pain. In this context, it can be understood that the arts that aim at activism constitute a new culture and art ethics.

대한제국기 극장국가(theater state) 연구(1)

김기란 ( Ki Ran Kim ) 한국문학언어학회 2009 어문론총 Vol.51 No.-

This is the study on the `Theater State` in the Daehan Empire of the Emperor Kochung in the late 1900 with the theatrical concepts of cultural performance theory which has been useful for investigating historical, social, and cultural collective memories and their transformation mechanism in the society. The performance theory is based in the notion, `performativitat`, by which the performance can contain vary performance forms. Performativitat is the notion which points up the certain process that can cause the perceptional emotion communication called `liminalitat` to the performers and audiences in the performance. The social spectacle is also understood and presupposed by the performativitat. Generally speaking, the spectacle has been used of explaining the visual cultural experiences in society. Fundamentally, spectacle had resulted from the latin `spectaculum`, which was used to designate theatrical representation in France. In the case of movie, spectacle was the grand show with showy technological attractions. But in my study, I want to concentrate on the `theater state`, which can be consisted of cultural performance and spectacle and have been organized to show the political and socio-historical relationships, especially, the Emperor and his people in the Daehan Empire period of the Emperor Kochung of the late 1900. In addition to it, I search for the historical collective memories of the Daehan Empire, The government of the Daehan Empire was continuing with its efforts to enforce and recollect the imperial images and authority of the Emperor and his Empire to get the approval of the people and international society. The theater state as the cultural performance was the concrete effort to establish the collective memories of the Daehan Empire. It was performed as national ceremony, in which the Emperor Kochung was the director and actor.

현존적 재현 구현을 위한 신체행동연기의 구축 -강량원 연출의 극단 동(動) 연구-

김기란 ( Ki Ran Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.47

Based on the Stanislavsky`s acting concepts, which have been based on the modern actor`s training techniques, Kang Yang Won and his company "Dong(동)" has performanced so called non-realistic theatres since 1999. His company doesn`t stick to the traditional roles of director and actors. Directing and acting crews get together, discuss, and study together to find the actions of subtext, which are analyzied to the subtle gestures, the common language "unit", with which they always want to meet the audiences in a new way. In their first step of work, the director proposed a concept-synopsis, and the actors set up the concept-synopsis as unit. Then the director gives back its feedback. Through the repeated circular reactions, they practice and discuss, and finally complete a piece. Their actor`s training system is similar to the Stanislavsky`s, but distinguished from the Stanislavsky`s. Above all, they opt for objectively describing what is shown on the surface focusing on the physical actions. Such a characteristic of Kang Yang Won and his company "Dong" is significant in point of modern korean theatre history, which was influenced by the realism or representation based on the Stanislavsky`s actor training method, that is, the realism of korean theatre history was connected of Stanislavsky`s. But in spite of influence of Stanislavsky, Kang Yang Won and his company "Dong" refused the representation and its reality. From this we can consider the special position of Kang Yang Won and his company "Dong" in the korean theatre history. That is, considering the relative relationship between the representing and represented, they offer a perception of present representation through the physical action in the stage to break up the unconsciousness based on realism stuck to the korean theatre history. They accept the tradition of non-realistic theatre in korea and simultaneously transform it through the theatrical methods and means, that is, physical action. Moreover, their works reflect on the theatre itself as metatheatre, in which we can see the sign of postdramatic theatre.

독일 탄츠테아터(Tanztheater)의 현대공연예술적 특징과 한국적 수용 연구

김기란 ( Ki Ran Kim ) 한국연극학회 2008 한국연극학 Vol.0 No.35

협률사 재론

김기란 ( Ki Ran Kim ) 한국문학연구학회 2007 현대문학의 연구 Vol.0 No.32