한국희곡 연극론 : 한국 연극의 근대성 재론 - 20C 초의 극장 공간과 관객의 욕망을 중심으로 = Reappraisal on modernity of Korean drama - focussing on the theatrical space and the desire of audience in the early 20th century

다국어 초록 (Multilingual Abstract)

The aim of this thesis is to examine modernity appeared in the space of theatre in the early 20th century. Experience in the theatre produced a modem space. In this thesis, I will call the interior of theatre a `public space` as a contrary concept for `private space`. Inspecting a drama acted as formating a new modem subject. Since many films was on at that theatre, this space played an important role in appearance of `visual subject` The space of theatre was a field(cf. habitus) in which desire and enlightening discourse coexisted. The intellectual class criticized severely the performance of drama and audience by reason that the atmosphere in the theatre was decadent and licentious. Illuminist did not permitted this break-away from traditional custom. In this period, the drama was perceived as a modem institution imported from advanced western nations. Drama was a attractive but dangerous to them. The theatre-named <Yeon-heung-sa(演興社)>-was a modem building utilizing electric light which acted as a modem experience to audience. People had to use an electric car in order to see public performance, for example, `Sin-pa-keuk(新派劇)`, `Chang-keuk(唱劇)`, traditional dance, various show, and especially films. Above all, a electric car and movie meant that people have experienced a very new space-time condition. This experience made them modem subject who went by modem space-time rule. Modem space-time system was divisible and mechanical. Female audience escaped from `private space(like as household)` and rushed into theatre to meet with sensual pleasure. This private desire was not reduced to enlightening discourse. Within theatre, women and men exchanged significant glances, and this condition was the origin that gave them modernity. Moreover, female audience made a noise during performance of tragic drama named <Tear(눈물)>. They burst into laughing even in sad scenes. This attitude in accepting modem institution means that Korean audience received modernity different from other nations. I would like to name this situation as `noisy modernity` or `special modernity in backward nation`.