차범석 희곡 <껍질이 째지는 아픔 없이는> 재고 = A Rethink on Cha Bum-suk’s Play, <Without the Pain of Breaking the Shell>

다국어 초록 (Multilingual Abstract)

This study aimed to analyze the aspect and meaning of the April 19 dramatization in the work of Cha Bum-suk’s play titled “Without the pain of breaking the shell” (All four Acts, 1960). To this end, the study focused on objects, spaces, and characters as theatrical devices. Many r esearchers h ave mentioned Bum-suk ’s w ork. In t his study, t he objects and spaces were targeted as characters and dramatic devices to broaden the horizons of related studies, while proactively accepting the views of leading researchers. The space, objects, and setting up characters shown in “Without the pain of breaking the Shell” are all devices for a certain message o f “expectation” or “ hope” for a new era. A t least, it mak es u s reconsider t he a ssessment that i t is a w ork that showed t he v iew of a “fatalistic” or “contemplative” world raised by leading researchers. The following analysis results were confirmed. First, the living room, which is the main stage of “Without the pain of breaking the Shell”, is being made a representation as a space where old and corrupt political consciousness and reality perception of the old generation are frustrated and collapsed. In particular, the sound of Daeyoung’s piano is an object, which guarantees important spatial practice in space, and it functions as a device that gives causal momentum to his realization and practice. Second, there were three types of characters related to the problem of the representation subject. These are the new generation that will show awakening reality and practice as masters of a new era, the old generation that is corrupt and bound to fall, and those who show selfish family love, although they are different from the two generations. They are all based on the “ideality of small bourgeoisie,” but they are important character settings that in themselves enable to see the writer’s will reflecting the reality. The above results show that the realism that Cha Bum-suk claimed and tried to implement was intended to reflect or represent the objective world independently and actively based on Aristotle’s theory of imitation. In other words, the point of view that Cha Bum-suk tried to reflect in his work should be regarded as an extension of Aristotle, who said, “The poet’s mission is not to simply talk about what happened, but to talk about what might happen, that is, what is possible under the laws of probability or inevitability.”

참고문헌 (Reference)

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