중국 연극의 이원구조와 경극

김종진 한국중국현대문학학회 2010 中國現代文學 Vol.0 No.54

The most universal way to understand the landscape of modern Chinese play is by the dual structure of spoken plays and traditional operas. This understands that spoken plays represent modern, nontraditional and western play models and that traditional Chinese operas represent premodern, traditional and Chinese-style play models. This way of understanding seems flawless but it is not quite perfect considering that both of them are presently available theatrical arts. This study examined this unstable dual structure focusing on the history of Peking Opera(京劇) based on the recent outcome of discussion on ‘Colonial Modernity’. Peking Opera is a modern traditional play. First started in the middle of Qing dynasty, Peking Opera was mainly distributed for performance amid the development of modern market economy and urban economy, which is why the role of artists was considered more important than that of writers. However, when the period of Reform Movement of Traditional Opera(戱曲改良運動) came, Peking Operas accepted the participation of intellectual writers. The intellectuals of Reform Movement of Traditional Opera who recognized plays as tools of enlightenment attempted to put topical contents and western stories into their Peking Operas and this changed the form of Peking Operas. The Peking Operas at this time gave up a large portion of its essentialism characteristics and adopted realism. Peking Opera along with Wenmingxi(文明戱), which was a spoken play in the initial stage were called as ‘new theater’ and launched modern Chinese play. When the period of May-Fourth Movement came, Peking Operas were no longer able to participate in the modern Chinese plays. The leaders of the movement considered all the Chinese theatrical traditions including Peking Operas to be justly abolished and tried to establish modern Chinese plays only with spoken plays. This did not necessarily mean that Peking Opera suffered a blow. The performance environment of Peking Opera was still not bad and it also enjoyed great honors through overseas performances. However, due to the situation that it could no longer participate in modern Chinese plays and the eyes of Chinese and foreigners, Peking Operas became conservative rapidly. In the end, Peking Opera became the symbol representing what is Chinese and traditional. The dual structure that Peking Opera representing all the Chinese traditions of theatrical arts was artificial manipulation. Moreover, the dual structure understanding that makes distinction between traditional art model from the implanted western art model is already an idea of ‘Colonial Modernity’. With this kind of understanding, the recent slogans of Chinese theatrical world such as ‘Spoken Play Nationalization’ and ‘Traditional Opera Modernization’ can only dilute the essential properties of spoken plays and traditional operas. The perspective of decolonization overcoming the idea of ‘Colonial Modernity’ can be accomplished through the negotiation between spoken plays and traditional operas.

근대 희곡에 나타난 제국의 조선 의사들

이주영 한국문학이론과비평학회 2019 한국문학이론과 비평 Vol.83 No.-

A doctor with the knowledge of western medicine in the modern times earned trust and respect from the public. The doctors at that time were pioneers who spread the fruits of the western civilization to the people in Chosun and made it possible for the people to experience new technologies. This type of characters who symbolize the modernization comes often into the story in modern play. This study is literary work and effort to examine the times of Chosun sailing from a colonial reality to a strangely new space and time through a figure of a doctor who appeared in the modern play. Westerners who have introduced the modern science and technology that was known as Western medicine were able to win the hegemony of the Chosun medical community by shoving away the Korean Medicine Doctors who, with the aid of the empire, have treated the Korean patients to the frontier. In the second chapter of this volume, we investigated these changes through the collection of modern plays. This chapter analyzed the behavior of doctors whose response to the Japanese Empire, after having been benefited from the Empire, was made very quickly. They, in presence of facing the patients from Chosun and the Japanese Empire, looked away the pain and suffering of the patients from Chosun. Chapter 3 paid close attention to the doctors who treated the patients from Chosun and to those who refused to treat by giving a variety of reasons. The doctors who belong to the latter case were all from Chosun and they focused only on the Japanese empire and money that guaranteed their stable lives, just as the doctors who neglected their patients mentioned in chapter 2. However, in chapter 4, it has been found that they became patients and they became factors that have bad effects on modern era. To sum up, the doctors appearing in the plays of 1910s to 1930s are depicted as people who are entirely focused in treating patients in the one hand, while as detestable beings desiring others' property and deteriorating modern Chosun society along with the empire in the other hand. Though doctors grew by receiving benefits from the empire, along the process, they closed their eyes from the lives of average people of Chosun - they were just becoming like the empire. the doctors who chased money and the empire were negativities that appeared during the modern era, which degenerated Chosun society.

유아기 놀이와 교육의 이데올로기와 현대적 과제

이현정(Lee, Hyun-Jung),정대현(Jung, Dea-Hyun) 한국어린이교육문화비평학회 2020 영유아교육과정연구 Vol.10 No.2

유아기 놀이와 교육은 다양한 관계를 맺으며 의미화 되었다. 놀이의 의미는 다양한 층위에서 어떠한 영역들과 연결되었는가에 따라 그 성격이 결정되었으며, 유아교육과 연결된 놀이는 교육이라는 틀 내에서 교육적 놀이로 이해되었다. 이는 사실상 놀이 그 자체의 의미이기보다 교육으로 재현된 놀이에 대한 이해인 것이다. 따라서 유아교육에서 이해된 놀이는 교육 이데올로기라 할 수 있다.유아교육에서 놀이의 이데올로기는 크게 두 가지로 나눌 수 있다. 하나는 교육을 중심으로 놀이를 바라보고자 한 이데올로기이다. 이것은 유아교육의 시작 이래 교육을 위해 수단화되고 의미화된 놀이다. 다음의 이데올로기는 아이들의 놀이에서 교육적 의미를 찾고자 놀이의 의미를 교육의 의미로 해석한 이데올로기이다. 이는 놀이는 그 자체로 유아 존재이기에, 놀이에서 나타나는 앎의 과정을 교육으로 이해하고자 한 것이다. 유아교육에서 이 두가지 이데올로기는 시대를 달리하며 순차적으로 나타났다. 그러나 앞의 이데올로기가 뒤의 이데올로기를 완전히 교체한 것은 아니다. 이들은 오늘날 유아교육에 여전히 교육적 놀이로 공존하고 있다. 최근 탈근대로의 시대적 변화는 이러한 이데올로기로부터 벗어나려는 시도로 나타난다. 각각의 이데올로기는 유아들에 대한 복합적인 시각의 단면만을 반영하고 있을 뿐 그 자체의 의미를 드러내지 못하기 때문이다. 따라서 이러한 이데올로기의 현대적 과제는 놀이를 교육으로 의미화하거나 중심화하기보다는 차연의 존재로서, 먼저는 외재성을 통해 드러나는 놀이와 교육의 얼굴과 대면하여 응답함으로 나아갈 것을 제안한다. 이때의 응답은 스스로 현현하는 놀이와 교육의 부름에 대한 적극적 대응을 의미한다. Early childhood play and education became meaningful by establishing a variety of relationships. Since the meaning of play varies practically, the nature of play is determined how you think of play. So far, play in early childhood education has been an understanding within the framework of education. Thus, the play that was identified in education is said to be the ideology of early childhood education. The ideology of play in early childhood education may be significantly classified into two sections. One is an ideology that seeks to view play centering on education. This is a play that has become a method and meaning for education since the beginning of early childhood education. The other one is an ideology that interprets the meaning of play as the meaning of education in order to fine education meaning in children’s play, because play itself is a child’s existence, thus it is intended to understand the process of knowing in play via education. These two ideologies in early childhood education appeared sequentially in different times. However, it does not mean that the latter ideology did not completely replace the former ideology. They still coexist in early childhood education today as educational play. The recent change of the era of post-structuralism appears to be an attempt to escape from such ideologies, because each ideology reflects only a cross-section of a complex perspective on children and cannot reveal its own meaning. Therefore, the modern task of such an ideology suggests proceeding by responding face-to-face with the faces of play and education revealed through existence of a difference, rather than meaning or deciding play and education. The answer to this refers to an active response to the call to play and education that manifests itself.

역사극, 무대로 나온 역사: 역사극의 기원, 개념, 범주

김기봉 ( Gi Bong Kim ) 한국드라마학회 2010 드라마연구 Vol.- No.32

It is true that the concept of the ``historical play`` has been mostly researched through the viewpoint of play. But I, in this article, want to propose a little different approach to the conventional discussion, while supplementing the previous views and focusing on the play which might be newly constituted of the origin, concept and category of the historical play from the historical science. Nietzsche once said that the un-historical entity could be defined and that the historical entity only be interpreted as well. The meaning of historical play then should be explained by interpreting for the history of historical play. I would like to classify the periods of the history of historical play as three different ways, drawing the classification to my coined words of ``history as a subject`` and ``play as a predicate.`` First, most historical plays of the traditional era were to show a sort of universal truth mainly through the performance of actors, that could be defined as the history as a predicate. The historical plays at this time were played to sublimate a particular fact into the universal truth through the modification of history as the play. Second, modern historical plays were born to change the conventional relationships of the ``history as a subject`` and the ``play as a predicate.`` Such historical plays dominated all of the stages of play with the meta-narrative of history. Third, in the modern time the contents of history began to determine the form of play. But the post-modern historical plays that I concerned here are in a sense to go back to the traditional time in which "theater plays with history." Historical play must be defined as calling the characters of the past out on the stage with one`s historical imagination. We tell ``the dreaming history`` through the historical imagination, while breaking away from the yoke of ``the real history.`` ``The dreaming history`` is not an anti-history, but is formed as a generator producing a called historical energy by which we create a new history of the future beyond ``the real history.`` The historical play has its meaning when performed as the form of ``dreaming history`` on the stage. To say, the postmodern historical play is all the plays performed on the stage for ``the historical effect``. 역사극에 대한 종래의 연구는 주로 연극의 관점에서 이뤄졌다면, 본 논문은 역사극의 기원, 개념, 범주를 역사학의 측면에서 접근함으로써 기존의 연극 중심의 논의를 보완하려는 목적을 가진다. 니체 말대로 비역사적인 것만이 정의할 수 있고 역사적인 것은 해석될 수 있을 뿐이라면, 역사극이란 무엇인가는 역사극의 역사를 해석하는 것으로 해명되어야 한다. 역사극의 역사는 역사라는 주어와 연극이라는 술어의 관계맺음 방식의 변화에 따라 셋으로 시대구분 될 수 있다. 첫째, 전통시대 역사극은 연극이 역사를 술어적으로 규정하여 인간 삶의 보편적 진실을 배우들의 연기로 보여주는 것을 목표로 했다. 이 시대 역사극은 역사의 연극화를 통해 개체적 사실을 보편적 진실로 승화시키는 것을 추구했다. 둘째, 근대 역사극은 역사라는 주어와 연극이라는 술어가 이전 시대와 완전히 다른 전도된 형태로 관계를 맺는 것으로 탄생했다. 이 시대 역사극은 역사라는 거대담론이 연극의 무대를 지배했다. 셋째, 역사의 내용이 연극의 형식을 규정했던 시대가 근대라면, 연극이 역사를 가지고 노는(play) 전통시대로 복귀하는 것이 탈근대 역사극이다. 역사적 상상력으로 과거의 인물들을 무대로 불러내어 연극을 벌이는 것이 역사극이다. 인간은 ``현실의 역사``가 빠져 있는 질곡을 벗어날 목적으로 역사적 상상력을 발휘하여 ``꿈의 역사``를 이야기한다. ``꿈의 역사``란 반(反)역사가 아니라 현실의 역사를 초월하여 미래 새역사를 창조할 수 있는 역사 에너지를 만들어내는 발전소다. 이 같은 ``꿈의 역사``를 무대에서 상연하는 연극이 역사극이다. 요컨대 탈근대에서 역사극이란 ``역사효과``를 낼 목적으로 무대에서 상연되는 모든 연극이라고 말할 수 있다.

1910년대 근대적 배우 개념의 형성 과정 연구

임지희 한국어문학회 2004 語文學 Vol.0 No.86

In the early stage of 1910's a Korean new school play was taken form like the one of Japanese as the pre-model. Nevertheless the spectators had good experiences to watch the western play through the new school play, and their thoughts of the play were changed. Those who experienced the new school play had the general idea of the play script in the western play. Also the conception of the player was resulted in the change. It was shaped that the modern conception of the player - the player's role was that the player expressed an imaginary character of the drama into the one in a reality through the drama based on a text of a play. This variation in the conception of the player brought on the reduction of the phase of the classical player. The classical players were recognized that they showed only their skill. They groped various ways to get over this crisis. These were charity performances, new school plays, and joint stages by new school players and classical players. They succeeded to improve their images more or less playing charity performances. But the classical players learned the new school play in a short time and putting the play on the stage was beyond their abilities. Even the classical players from kisaeng's house tried to look for new ways taking a Korean classical opera, they were looked away eventually from onlookers. In spite of their effort they were pushed out. This was why proprietors ran indoor playhouses and they fixed up the plays for spectators' fondness. Those who already watched new school plays having plots didn't recognize the classical plays as plays any more. Those were only broken pieces. The classical players were strongly conscious that they were not players any more but showed onlookers their skill more and more. Therefore the classical players and new school players came to a rupture deeply. The Actors within a classical play were described as very creative and independent. Their characterizations of the author's creations exhibited a much more coherent sense of autonomy and flow than what the author strictly wrote. In contemporary plays, however, the characters are formed not only by the actors' interpretations, but they are also strongly influenced by the director's planning and producing. In other words, a contemporary production's success is dependent not only on the independent performances of each actor, but also on mutual cooperation. The acting of a play is an active factor in constructing a play. Audience members who are familiar with new-school plays are able to recognize the difference between new-school and classical plays.

문화적 행위로서 유희론의 전개에 관한 고찰

유달승(Yu, Dal-Seung),이지은(Lee, Ji-Eun),황의룡(Hwang, Eui-Ryong) 한국체육과학회 2018 한국체육과학회지 Vol.27 No.3

The purpose of this study is to review the research trends of the Western society in terms of the flow and development of the theory of play as a cultural act. According to the ancient philosopher Plato, play was non-essential and was related to the pleasure of senses, but it motivated childhood education. Another philosopher Aristotle regarded play as a secondary activity to diligent labor. Rituals in the ancient society were a play in its purest form. However, as play accompanied leisurely activities later on thereby encompassing psychological elements, it gradually became a symbol of mystical realization of cultures. In the middle ages, religious issue significantly influenced the scope of play. This resulted in play, which played an essential role in both cultural and social areas, to be excluded from research subjects which usually had to be studied with an in-depth approach. However, the value of play was rediscovered by humanists in the Renaissance period, settling as one of the values of physical education. Johan Huizinga, who reviewed historical theory of play from a skeptical perspective in the modern era, argued that ‘Homo Ludens’ is closer to the human nature rather than ‘Homo Sapiens’ or ‘Homo Faber’. Because Roger Caillois analyzed social phenomenon as a part of various criterions of play, he was more realistic than Johan Huizinga regarding play. The biggest achievement of Roger Caillois was that he provided a key for a more systematic classification of play, but as Huizinga gave prominence to play that it functions in creating cultures while it was being derogated, play could finally be publicly recognized in the modern world.

놀이를 주제로 한 현대미술 전시 관람을 위한 ACTIVITY CARD 개발 – 포스코 미술관 ‘예술, 그냥 즐겨’展을 중심으로

김은진 한국초등미술교육학회 2020 미술교육연구논총 Vol.60 No.-

놀이는 합리적인 사고와 이성적인 삶의 방식을 강요하는 현대사회에서 건강하고 행복한 삶을 살아갈 수 있도록 돕는 인간의 기능 중 하나 이다. 현대미술은 현실 속에서 주관적인 환상을 허용하는 방식으로 즐거움을 이끌어냄으로 현대인의 파편화된 전체성을 회복시켜주려는 놀이적 특성을 가지고 있다. 그러나 낯설고 생소한 형식의 현대미술은 일반인에게 오히려 난해하고 어렵게 느껴지기 쉽다. 놀이를 주제로 한 현대미술 전시에서 관람객들이 누구의 도움 없이 자발적으로 의미 있는 감상 체험을 하도록 돕는 교육 자료로 셀프가이드의 일종인 Activity Card를 실용적인 측면에서 개발하였다. Activity Card는 기존에 미술관에서 사용된 ‘워크시트’에 비해 놀이를 주제로 한 Group전시에게 관람객들에게 전시 기념품의 역할과 함께 개별 작가들의 고유성을 유지하면서 전시의 주제를 체험시킨다는 점에서 유용성이 있을 것으로 보여 진다. 본 연구는 포스코 미술관에서 2019년 12월에 5명의 현대미술 작가로 펼쳐진 놀이를 주제로 한 ‘예술, 그냥 즐겨’展에 Activity Card를 개발하여 적용한 사례를 중심으로 그 의미와 개발 절차를 밝혔다. 또한 현장에서 수집된 자료를 근거로 Activity Card가 어떻게 활용되었는지 살펴본 결과 관람객들은 직접 만지고 굴리거나 그리도록 제안한 경우 더 많이 반응한 것으로 추측되었다. Play is one of the functions of human that allows the human to live happy and healthy lives within the modern society that forces logical thinking and rational ways of life. Modern art has playful characteristics to recover the fragmented whole of the modern people through creating “fun” by allowing subjective fantasies to come into realities. However, unfamiliar and unusual forms of modern art may be considered as abstract and difficult to understand for the general public. This study devised practical Activity Cards as a type of self-guide to serve as educational data that assist the visitors to meaningfully experience the modern art exhibition with the theme of play by themselves without the help from others. It is expected that the Activity Cards will be more effective in comparison to the “Worksheets” used in art museums in the past, as they can be not only souvenirs of the exhibitions for the visitors but also maintain the uniqueness of the individual artists and allow for the visitors to experience the theme of the exhibition. This study identified the significance and the development process of Activity Cards by focusing on the development and use of Activity Cards from the “Just Enjoy Art” exhibition of the Posco Art Museum, which was held during December 2019 with five modern art artists under the theme of play. In addition, the study also investigated the possibilities of the Activity Cards based on the data collected on site as evidence. It was shown that the visitors had greater reactions when they were asked to touch, roll or draw for themselves.

파비스가 본 한국 전통 수용 현대극과 그의 연극분석방법론 고찰 : 한국전통연희론적 관점과 비교하여

김영은 ( Young Eun Kim ) 韓國世界文學比較學會 2013 世界文學比較硏究 Vol.45 No.-

The theater play in the current era becomes extensively diverse due to the disintegration, the genre deconstruction, the hybridization and etc.. Many plays in various formation converge many studies on anthropology, folklore, sociology, biology, culture, recognition and others beyond the research category of theater study and are analysed in the research categories of inter-disciplinary convergent approach. Patris Pavis views plays in various forms that change in the current era as in the category of ``plays of the extended concept`` called as ``Performance`` and is making efforts to establish theatrical study and analysis methodologies in more general view point to analyze plays in extended concept. This study introduces his critics on Korean Tradition Accepted Modern Plays and considers why the theatrical study methodologies of extended concept that he is interested in connection with his critics on plays. Although he is said not to have sufficient theatrical expertise, his attempt may become noticed as a high encouragement in the current study environment lack of choice, but being dependent only on inter-disciplinary convergent researches.

정현종 시의 놀이적 상상력 연구- 오이겐 핑크의 ‘놀이존재론’을 중심으로

박소영 한국문화융합학회 2019 문화와 융합 Vol.41 No.4

This study analyzed the playful imagery in Chong Hyon-jong’s poems. Chong Hyon-jong’s playful world reveals his poetic orientation through the lens of ontological consciousness. His imagination shines at the point where he reveals the coexistence of “thinking” and “play” as dynamic images. The flexibility and resilience of life, and the imagination that dreams up another world, are fundamentally associated with the properties of play. This study applied Eugen Fink’s theory of the junction between “play” and “being” to analyze Chong Hyon-jong’s poems. To Eugen Fink, play epitomizes the possibility of overcoming despair. From an existential perspective, a human being is concerned and anxious. Eugen Fink accepts existential anxiety as the fate of human life, but proposes an escape, in the human power of hope and possibility. In EugenFink’s world, a human being who plays is metaphorized as a human being who walks in the desert and finds an oasis. Fink considers this “oasis of happiness” a satisfactory junction between play and being. Chong Hyon-jong also creates “artificial nature” in his prose, referring to art that overcomes the “artificial world” of the times. He creates the symbol of “a bunch of flowers” to serve as a rejection of the violent system that suppresses human beings. To him, a “flower” is a condensed fruit of thinking, a countermeasure against violence, and a landscape of artificial nature by creative imagination. Playful imagination, Chong Hyon-jong shows, is a strong belief that the creativity of human beings must not be buried by “violence”, “war”, and “suppression”. The tool of play utilized in his poems appears in the shape of a ball: the rising power of round elasticity becomes a powerful force that can dredge up a being that has sunk down into the abyss. This will to reject despair shows the possibility of “humanity”. This will can be obtained “playfully” as a part of human nature, in a world based on imagination, and not through hard asceticism. This world of play is Eugen Fink’s “oasis of happiness” while Chong Hyon- jong calls it “artificial nature”.

한국아동문학과 놀이공간의 사회적 구성: 산업화 이전의 근린환경을 중심으로

정나리 한국아동권리학회 2019 아동과 권리 Vol.23 No.4

Objectives: By identifying the social background in which play came to be associated with children as an emerging collective subject in the wake of modernity, this study aims to further the understanding of the nature of play spaces in pre-industrial Korea through children’s literature. Methods: Focusing specifically on children’s play spaces, I conduct a textual analysis of three pieces of literary works. With Bang’s claim that modern children should ‘study quietly and play joyfully’ as a point of departure, this paper analyzes the portrayal of children’s play spaces from the 1930s to the 1960s. Results: It is discovered that children explored a wide range of nearby natural places within a walking distance without close adult supervision or surveillance. However, the deprivation of play for the children left to survive on their own is prominent in the course of war and the rapid industrialization and urbanization leave rural communities almost empty, which marks a spatial change for children’s play. Conclusions: The loss of nearby nature and street as significant children's play spaces in late modern Korea is recognized as a social dilemma facing the children placed in compartmentalized modern spaces. Search for diverse play spaces to enrich children's lives is in need. 연구목적: 이 연구는 근대초기 방정환이 제시한 ‘고요히 배우고 즐거이 노는 아동’의 명제로부터 시작한다. 공부와 놀이는 현재까지도 아동의 주된 활동으로 규정되지만, 이 양자적 구도가 공간적으로 현저한 불균형을 이룬다는 문제의식에서 아동 놀이공간에 주목하며, 그 사회적 구성과 거시적인 양상을 규명한다. 방법: 근대의 전개와 함께 한국 아동문학장르가 재현해온 놀이공간에 대한 텍스트 분석을 시도한다. 아동놀이공간이 일종의 ‘단절’을 맞이하는 산업화·도시화를 중요한 지점으로 설정하여, 그 이전 시기까지의 놀이공간의 특성과 변곡점을 드러내는 세 작품을 분석하였다. 결과: 첫째, 어른의 통제와 감시가 부재한 근린자연환경과 골목이 다양한 놀이가 이루어지는 주요공간이었다. 둘째, ‘일하는 아동’의 재현으로 놀이공간이 부재한 맥락이 관찰되었으며, 이는 ‘놀이하는 아동’이라는 오랜 명제의 사회적 취약성을 강조하였다. 셋째, 공동화되어가는 전통적 공동체로부터 아동이 떠나면서 근린환경의 놀이공간이 의미를 잃고 소멸해가는 시점이 확인되었다. 결론: 자연과 골목의 상실에 대한 후기근대의 문학적 성찰은 한국사회가 마주한 공간적 딜레마를 상징적으로 드러내었다. 어른/일 중심으로 조직된 도시공간에서 크게 분리·축소된 아동놀이공간은 다양한 놀이공간에 대한 보다 적극적인 사회적 논의와 탐색을 요한다.