전통극과 사실주의

장원재(Jang, Won-jae) 한국외국어대학교 외국문학연구소 2005 외국문학연구 Vol.- No.21

The main purpose of this paper is to clarify the reason why the leaders of modern Korean theatre movement neglect to success or recreate the heritage of traditional Korean theatre. The traditional Korean theatre and performances is an important cultural asset which, in spite of their long history and popularity, lost the support of the Korean audience and was almost eradicated during the colonial period. Furthermore, during the period of the modern Korean theatre movement, traditional Korean performances were almost completely neglected by the members of the Korean intelligentsia who took the main role in the movement. They considered that there were no theatrical elements which would be either useful or suitable for the modern theatre. Consequently, there was no positive effort to keep the traditional Korean theatre and performances alive, either by reformation of their artistic form or preservation of their essential elements. This meant that Korean intellectuals' concept of modern theatre was totally new and that the development of the modern theatre movement was based on foreign theatre culture without any connection with traditional Korean theatre. The main reason was that the members of the Korean intelligentsia believed the Korean mask dance drama partly reflected the modern spirit of the time but that it was not a type of modern drama which could be used to suggest their ideas and intentions and promote socio-political thoughts. Korean intelligentsia considered there were three essential elements of modern drama. Firstly, modern drama had to find its theme in the reality of contemporary life. Secondly, the playwright had to consider the relationship between social conditions, the environment and human life. Thirdly, the playwright had to provide rational criticism or a progressive alternative idea. However, the principles of Korean mask dance drama were completely different from those of modern drama. There was an additional problems associated with the Korean mask dance drama which meant that the Korean intelligentsia regarded its form as far from the theatrical conventions of modern drama; the first was the role of the musicians and the audience and the second was the concept of theatrical space. The members of the Korean intelligentsia considered that this was an uncivilized theatrical convention which did not take into consideration basic scientific reality. They, therefore, found it impossible to give the modernized audience of the new generation a satisfactory explanation of the changing theatrical space using the principles and theatre conventions of the Korean mask dance drama. They valued it as a primitive theatrical convention rather than a unique and sophisticated theatrical style, and refused to accept it for their modernized performance.

1920년대~30년대의 번역이론 연구 : 유렵 희곡의 수용과정을 중심으로

장원재 한국외국어대학교 외국문학연구소 2004 외국문학연구 Vol.- No.16

In this essay, the process of how of European drama is imported into the Korean theatre will be traced. The translation of European drama has a special significance in the modern theatre history of Korea. There is no doubt that the ultimate goal of Korean dramatists was to deliver the modern spirit to the Korean audience with Korean original plays. However, there were fundamental problems. Korean dramatists were aware that they did not have the ability to produce modern Korean drama at the start of their movement nor was it possible to use the Korean traditional performance. Therefore, Korean dramatists took an alternative step, which was to establish modern Korean theatre by importing European plays. The majority of Korean dramatists regarded this as a worthwhile cultural activity and necessary phenomenon to encourage the writing of modern Korean drama. However, considering the quality of translation, which reflects the ability of the leaders of the modern Korean theatre movement both as producers and translators, many parts of the European originals were misinterpreted during the process of translation. As a result, the mistranslated parts destroys the original structure of the play. This meant that the Korean reader and audience were also subjected to a similar misunderstanding of modern European drama. The discussion in this paper is based on Korean articles concerning translation theory about modern European plays which were published during the 1920s and 1930s. The majority of the Korean intellectuals regards modern European drama as one of the most successful socio-cultural movement and they felt that it could easily be adapted to the Korean situation. This was the reason why the Korean intellectuals interested in modern European drama and why many articles and essays concerning translation theory about modern European plays were published. The Korean intellectuals felt that modern European drama could provide not only a practical dramaturgy but also a viable theoretical background for the modern Korean theatre.

J. M. Synge’s Riders to the Sea and Its Korean Translation

Won-Jae Jang 한국예이츠학회 2005 한국예이츠 저널 Vol.24 No.-

The first significant modern theatre movement in Korea arose in the early 1920s. As already indicated, since the 1920s, modern Irish drama and its theatre movement had been a major field of interest for the Korean intelligentsia and dramatists, who believed that it provided a model for the modern Korean theatre. The importation of Irish drama was systematically conducted by different groups from the Korean intelligentsia in the 1920s and 1930s, during which period many of them published articles concerning Irish drama and the modern Irish theatre movement. In this paper, the process of importation, adaptation and assimilation of Irish drama into the Korean theatre will be traced. The initial stage of this process revolved around Irish drama which was translated into Korean. Twenty Irish plays were translated during the 1920s and 1930s and some of them were produced on the Korean stage. In this chapter, a complete list of the translated Irish plays will be provided and an analysis of the culturally significant repertories will follow. A further area of discussion will focus on which examples of Irish drama were chosen and how they were altered and interpreted from a Korean perspective. The examples of Irish drama which were translated into Korean reflect the theatrical taste of the Korean intelligentsia. Another important point of this chapter is the quality of translation, which reflects the ability of the leaders of the modern Korean theatre movement both as producers and translators. Many parts of the Irish originals were misinterpreted during the process of translation, either intentionally for political reasons, or unintentionally, due to the lack of linguistic skills. As a result, the mistranslated parts destroyed the original structure of the plays. Even worse, these 'translator's intention- reflected' versions were not only published but also used as the script for performances. This meant that the Korean reader and audience were also subjected to a similar misunderstanding of modern Irish drama. Based on this observation, the other main area of discussion in this chapter is a comparison of the differences between the Irish original plays and the Korean versions and an analysis of the cultural effect which resulted from the intentional changes.

숀 오케이시(Sean O`Casey)와 유치진(柳致眞)의 영향관계 연구-유치진의 평문 「숀 오케이시와 나: 내가 사숙하는 내외 작가」를 중심으로

장원재 ( Jang Won-jae ) 국제어문학회 2004 국제어문 Vol.32 No.-

The main aim of this chapter is to clarify the cultural significance and impact of a Korean article concerning Irish drama and theatre that were written and published in 1935. Yoo, Chi-Jin`s `Sean O`Casey wa- Na: Naega Sasookhanun Naeoui Jakga (Sean O`Casey and I: The playwright who guided my way)` was one of the most significant articles for many reasons. At the start of the article, Yoo, did not hesitate to confess to Sean O`Casey`s influence on his plays. Considering Yoo, Chi-Jin was the central figure of the modern Korean theatre movement from the 1920s onward, it can therefore be said that O`Casey`s drama and his philosophy widely influenced the modern Korean theatre movement through Yoo, Chi-Jin, and this article providesclear evidence. Furthermore, Yoo, Chi-Jin regarded his plays as creative adaptations of O`Casey`s masterpieces rather than his own original work. He even revealed O`Casey`s influence on him more clearly by comparing the characters in his plays with those of O`Casey. The most significant point is that Yoo, Chi-Jin`s admiration for Sean O`Casey was not merely limited to his technical achievements but approached total intimacy with his work. In his autobiography, Yoo, confessed that he felt strong sympathy with O`Casey`s view of life, philosophy and even political ideology. Yoo, Chi-Jin found an ideal example of how to deal with nationalistic themes and how to dramatise a political creed in O`Casey`s drama. Despite its ceaseless effort, the modern Korean theatre movement in the early 1930s mainly appealed toa small group from the urban intelligentsia while not attracting the wide support the leaders had expected. Yoo, Chi-Jin accepted that the responsibility for this situation mainly belonged to the Korean dramatists who did not attract the audience through their drama. Yoo, Chi-Jin understood that most Korean dramatists had no concept of differentmethods of expression in the theatre such as acting, scenery and sound effects. This meant that theyput all their effort into writing plays and as a result the majority of the Korean dramatic texts were written without considering stage mechanisms. As a dramatist who had acting experience, Yoo, Chi-Jin emphasised the necessity of practical training for the Korean dramatists in order to produce successful drama. To Yoo, Chi-Jin, this was the most urgent task in the efforts to improve modern Korean theatre.

한국연극사 서술의 반성과 과제 : 시대구분과 장르구분을 중심으로

김미도(Kim Mi-do) 국어문학회 2008 국어문학 Vol.44 No.-

This essay intends to explore and discuss the viewpoints and the their difference of period classification and genre classification described in the important works which have been published up to now. The most leading writers on Korean History of Theatre are Lee Do-Hyun, You Min-Young and Sea Yeon-Ho. And on the Period classification, the most contradictory point among these three writers is the concept of 'modem drama' and 'contemporary drama'. In my humble opinion on the starting point of the two dramas, it seems to be more advisable to contemplate from the more independent viewpoint and from the viewpoint of overcoming 'Tradition Discontinuity Theory'. Thus, I wonder if it would be agreeable to have Chang Geuk 'Eun-Se-Gye' performed in 1908 as the true starting point since there has been such an agreement that 'Eun-Se-Gye' showed the modem style and modernity awareness. Similarly, the opinion that the starting point of contemporary drama is the beginning of 1960 is also rooted on the theatre atmosphere of the time which western style play such as Theatre of the absurd, Epic Theatre, and Theatre of cruelty were around. It appears to be plausible to see that the true changes in Korean Theatre have begun from 1970's with new discussion on tradition and creative inheritance of traditional play. Through this, it can be said that we have passed over to 'creative contemporary plays' from 'transplanted modem plays.' On Genre division, there seems to be a great difference between A History of Korean Theatre written by Lee Doo-Hyun and A Complete History of Korean Theatre written by Sea Yeon-Ho. According to Lee, it is suggested that the greatest heritage of our traditional play is 'Mask Play', and he classified six types on the basis of lore type. While according to Sea, he roughly classified Gut, Talchum, Kkoktugaksinorum, Uheui and Pansori and as such they are all clearly differentiated. It seems remarkable that he established Gut as a separated form from Talchum and one form out of traditional play and also Uheui was highlighted as a meaningful genre. As it comes to modem drama, Genre classification seems to be agreed for the most part. Sea, in the A Complete History of Korean Theatre described 'melodrama and Popular Theatre' / 'Chang Geuk and Ak Geuk' / Realistic Drama / Proletarian Drama / pro-Japanese Drama for modem drama. This classification appears to be acceptable for modem drama period, but it is exposed to have a big confusion as it comes to contemporary drama period yet. It should be necessary, on this period, to be more vigorously and attentively studied in the many more directions such as playwriters, directors, actors, theatrical companies, and theatres before it is put into shape as a part of history of modem drama.

The Influence of Irish Plays on the Formation of Modern Korean Theatre in Intercultural Characteristics

Youn-Gil Jeong 한국예이츠학회 2018 한국예이츠 저널 Vol.56 No.-

본 논문은 1920~30년대 한국의 근대 연극 수용의 특징과 의미를 아일 랜드 연극의 영향에 초점을 두고 역사적 배경과 극작가의 작품을 중심으로 살펴보고 자 한다. 우선, 한국 근대 연극의 발전 과정에서 아일랜드 연극의 영향력을 검토함으 로써 서구 근대 연극을 받아들이는 데 있어서 한국 지식인과 다른 아시아 지식인들의 태도 사이에 매우 중요한 차이가 있음을 이야기 할 것이다. 또한, 당시 대표적인 극작 가였던 유치진과 함세덕의 작품에서 아일랜드 극장의 영향을 확인해 볼 것이다. 그들 은 아일랜드극에 많은 관심을 가졌으며, 존 밀링턴 싱과 션 오케이시와 같은 아일랜드 작가의 극적 특징과 배경을 적극 활용하여 작품을 창작하였다. 결과적으로, 이 논문은 아일랜드 극작가에 대한 한국 극작가의 수용이 단순하고 고립된 하나의 연극적 현상 이기보다는 당시의 정치, 사회적 가치에 대한 그들의 반응이었음을 주장하고 있다. This essay examines the characteristics and meaning of modern theatre in Korea during the 1920s-30s, tracing the historical background and the playwrights’ works in the period especially focusing on the influence of the Irish plays on Korean modern theatre in terms of interculturalism. First, by examining the influence of Irish plays on the development of the Korean modern theatre, I argue that there is a very important difference between the attitudes of Korean intellectuals and other Asian intellectuals in accepting the Western modern theatre. And I also look at the influence of the Irish playwrights in the works of Yu Chi-Jin and Ham Se-deok. Deeply interested in the Dramatic Movement in Ireland, they utilized in their works the dramatic features and the dramaturgy of John Millington Synge and Sean O’Casey. This essay studies the reception of Irish plays by the Korean playwrights and their response to the political and social value of that time as well.

한국 근대 연극 관중론 연구

임준서 ( Joon Seo Lim ) 한국연극학회 2004 한국연극학 Vol.0 No.22

This dissertation is written in purpose to rediscover the history of Korean play in aspects of the history of Discourse on Spectators. With this paper, I will try to display core objective and future of today`s play by pursuing how play makers have reflected mass` character, taste, and expectations. In consequence, this may lead us to correct errors of biased interpretation of our history of play centered around play writers or theatrical companies, providing fair interpretation in regarding of the history of play. With my such focus on this paper, I will display the process of modernized Discourse on Spectators`s growth, and define it and its limit at the same time. Discourse on Spectators`s growth can be divided as 4 stages. The first stage is before March 1st Independence movement when Korean society kept its obstinate confucian views, showing negative views to mass. Therefore, mass is viewed as anti-society force, rejected by the mainstream. The second stage is before the establishment of Theatre Art Research Association. During this stage, mass is treated better as objects of enlightening. Kim Woo Jin and Hong Hae Sung can represent Discourse on Spectators at that time, showing much developed organization; however, their elite-centered ways were not successful, resulting in deep gap between plays and mass. The 3rd stage is during the activities of Theatre Art Research Association when mass is upgraded as subjects of enlightening instead of objects and this is also applied in plays. Yoo Chi Jin and Lee Suk Hoon`s debate over the center of mass broke out as the peak of conflicts between old and new generation In Theatre Art Research Association. The 4th stage is from late 1930s to the Korean war when mass is treated as main for change and consumers. Choi Seung Il`s discussion of industrialization briefly suggested mass as consumers, but it failed in further development because of condemnation of right and left parties of plays. Yet, extreme left parties limited mass in their theory of class, retreating Discourse on Spectators. As displayed before, Korean Discourse on Spectators conveys important features to our history. In the first place, It provided a firm theological foundation for the history of Korean play. Discourse or Spectators has questioned audience`s attitude and response, becoming a barometer to correct the ways of New Theatre movement. Also, it gave a major help to build new culture of theatre. However, there are several limitations in Discourse on Spectators. The first point is that detailed activities to develop plays are not discussed, but just measuring audience`s response. This absence of activities gave a birth to vicious circle of blaming ignorance of audience for failures of plays. The second is that elite-centered attitude of play makers were not fully overcame, becoming a major block of plays` approaching to mass. Lastly audience is not viewed as consumers still, dragging of development of plays as a Industry and keeping it as a small scale business. To overcome these limitations, play makers need to have more open-minded approach.

아일랜드 희곡의 수용과 문화적 오해 -로드 던세니의 명성과 작품세계를 중심으로

장원재 ( Won Jae Jang ) 국제어문학회 2004 국제어문 Vol.30 No.-

한국 현대 연극의 ‘현대성’ - <조씨고아> (고선웅 버전)와 <모든 군인은 불쌍하다>를 중심으로

뤼샤오핑 한국연극학회 2022 한국연극학 Vol.1 No.82

중국과 한국은 유교 문화를 공유하고 있으나 양국의 현대 연극에는 큰 차이가 있다. 스타일과 기법의 차이는 민족성과 ‘새로운 흐름’의 정도에 따라 만들어진 것으로 이는 수사적 의미의 차이에 불과하다. 진정한 본질적 차이는 한국 현대 연극이 지닌 ‘현대성’이 중국 현대 연극에는 결여됐다는 점이다. 본문에서 말하는 ‘현대성’은 개인(individual)의 권리가 전체(total)보다 우선한다는 뜻이며, ‘중세’에서는 그 관계가 뒤바뀌어 있었다. 본문은 ‘중세’ 희곡 고전인 <조씨고아>를 처리하는 중국 현대 연극과 고선웅 선생의 차이점, 그리고 중국 여극(呂劇) 현대극 (‘현대 소재 중국 전통극 작품’이라 부를 수 있다.) <하늘을 메우다(補天)>와 박근형 선생의 <모든 군인은 불쌍하다>를 비교함으로써 중한 현대 연극의 ‘현대성’과 ‘비현대성’의 본질을 논증하였다.

한국 모던발레 60주년에서 서울발레시어터 ‘현존( Being) ’의 역할과 역사적 의미

김지연 한국체육사학회 2023 체육사학회지 Vol.28 No.3

본 연구는 한국 모던발레 60주년의 국내 모던발레 역사와 모던발레의 한 획을 그었던 서울발레시어터의 작품 ‘현존(Being)’을 통해 그 역할과 역사적 의의를 살펴보았고, 다음과 같은 결론을 도출하였다. 첫째, 국내 모던발레는 1962년 국립무용단 창단이전부터 임성남, 송범에 의해 다양한 작품이 시도되었다. 이들의 활동은 각 대학과 발레단에 영향을 미쳤고, 정치, 문화적 상황에 맞게 한국창작발레로 변화, 발전하였다. 둘째, 1995년 모던발레 대중화를 위해 탄생한 서울발레시어터의 다양한 작품 활동은 국내 모던발레에 새로운 시도였고, 특히 현존(Being) 작품은 당시 무용계에서 큰 화제(sensation)를일으킬 정도로 파격적이었다. 다만 당시의 정서가 이 작품을 받아들이기에는 한계가 있어 그 발전이 더딜 수는 있었으나혁신적이고 대담한 장르 탄생이 우리나라 모던발레의 발전에 큰 영향을 주었다. ‘현존(Being)’을 통한 새로운 시도는 재정적, 조직적, 사회적, 문화적인 한계에도 불구하고 한국 모던발레의 발전에 매우 가치 있는 의미가 있다고 분석할 수 있다. This study examined the roles and historical significance of a work ‘Being’ by Seoul Ballet Theatre that went down in history of Korean modern ballet in the 60th anniversary of Korean modern ballet, and then drew conclusions as follows. First, in domestic modern ballet, various works were attempted by Lim Seong-Nam and Song Beom even before founding the National Dance Company of Korea in 1962. Their activities influenced each university and ballet company, and then changed/developed into Korean creative ballet suitable for political/cultural situations. Second, various work activities by Seoul Ballet Theatre founded for the popularization of modern ballet in 1995 were new attempts on domestic modern ballet, and especially, the work ‘Being’ was really exceptional enough to create a sensation in the dancing world of the time. The social sentiment of the time was limited to accept this work, so the development was slow. However, the birth of the innovative and bold genre had great influences on the development of Korean modern ballet. Although it was sinking without blooming due to financial, organizational, social, and cultural problems, this attempt is greatly significant for the development of Korean modern ballet afterwards.