간행물

한국연극학회> 한국연극학

한국연극학 update

JOURNAL OF KOREAN THEATRE STUDIES ASSOCIATION

  • : 한국연극학회
  • : 예체능분야  >  연극영화
  • : KCI등재
  • :
  • : 연속간행물
  • : 연3회
  • : 1229-2877
  • :
  • :

수록정보
48권0호(2012) |수록논문 수 : 17
간행물 제목
48권0호(2012년) 수록논문
권호별 수록 논문
| | | |

KCI등재

1탈근대 희곡에 나타난 인간동물의 탈경계성 연구 -``타자성``, ``-되기(devenir)``, ``생태적 공존``을 중심으로

저자 : 김방옥 ( Bang Ock Kim )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 5-50 (46 pages)

다운로드

(기관인증 필요)

초록보기

In these days, we come across a growing interest in animals from various perspectives. Considering that the posthumanistic point of view forms the major stream of postmodern humanities, ethics and philosophies, this paper tries to study the liminality between human beings and animal as appear in postmodern plays. The cases of a middle-aged architect falling in love with a goat (The Goat, or Who is Sylvia? by Edward Albee); An abandoned (human-)dog that encounters his old mistress under the moonlight (A leaseholder by Yoon Young-sun); Coexistence of men, dog, plants in a Country life (White Cherry by Bae Sam-sik); A Mutual sympathy between a swarm of bees and a woman dying of cancer(Bee by Bae Sam-sik) were discussed referring such concepts as ``Otherness`` of Derrida, ``Becoming`` of Deleuze, ``a bare life`` of Agamben and ecological co-existence. In The Goat, the moment of Martin who happened to meet a goat`s eyes in a suburbs can be paralleled with that of Derrida who one day found himself caught up with the gaze of a cat in the bathroom while he was naked. They shared the common experience in that they went through the ontological and mysterious abyss that rendered them to raise the question of “Who am I?” In A leaseholder, a young woman returns to her hometown exhausted by the calculating human society and meet her old-time (human-dog). This story reminds us of Agamben`s werewolf, Levinas`s dog Bobby and Derrida`s Zootobiography. He, an abandoned pet, both excluded and included from human society, now appearing as a mysterious human-dog, welcomes, embraces, and comprehends his old mistress and exposes his individual remorses and passions as an animal-subject. In White Cherry, the author describes the coexistence of all the life-beings such as an old dog, a golden bell tree, the deceased daughter and even a fossil remains in a country life. Bee is a story of a beekeeping village where bees were leaving and disappearing. A swam of bees fly down on a woman who was dying of cancer. With physical and spiritual empathy the dying woman helps the swarm of bee to conduct a new birth and a new life.

KCI등재

2역사극의 탈역사화 경향: 역사의 유희와 일상사적 역사 쓰기

저자 : 김성희 ( Sung Hee Kim )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 51-84 (34 pages)

다운로드

(기관인증 필요)

초록보기

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the “phantom of history” making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

KCI등재

3박근형 연극에 나타난 가족 이데올로기에 대한 비판적 인식

저자 : 김숙경 ( Suk Kyung Kim )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 85-125 (41 pages)

다운로드

(기관인증 필요)

초록보기

Geun Hyung Park is one of the playwrights who consistently pursues his unique world of play. One of the characteristics that is constantly discovered in Park`s plays is the motif of ``family.`` park chooses family as the motif in most of his work. Park particularly emphasizes ``family life`` rather than ``individual life`` to focus on the internal problems of families. Therefore, the motif of family in Park`s plays takes a very important position in the content and theme. The Korean society imposes unique value on families and possesses a strictly obstinate family ideology. Park observes distorted family relations or individuals who cannot be happy within their families to identify the problems related to the family ideology that is deeply rooted in the Korean society. This is one of the important backgrounds for which Park is constantly dealing with ``family life.`` This study selected five of Park`s most famous plays to specifically examine Park`s critical understanding of family ideology. First, his criticizes extreme family egoism by depicting a family that cannibalizes people to keep the family full. Park chooses ``absurd time and space`` and the extreme subject of ``human flesh`` to warn his audiences about the awful consequences of family egoism. His , which is the only piece that deals with family history among the five pieces selected, criticizes Korea`s unique family-centered ideology by humorously depicting the history of the Cho family that is all about maintaining and worshipping the its clan. He reveals the unethical and hypocritical attitudes of the Cho family for the audiences to reconsider the family-centered ideology of the Korean society. In , he talks about the son and the father who lose his ethical authority and fail to perform his paternal responsibilities to criticize the traditional family ideology of patriarchism and suggests the pessimistic future of patriarchism. contrasts a blood-related family with an irresponsible father and a quasi-family to criticize the identity of blood-related families. In , Park depicts a ``smelly house`` of a family in agonizing relations to deny the family myth and the maternal myth. He clearly shows how the ideals of family myth and maternal myth are distant from the reality. In result of this study, Park`s criticism of family ideology appears in various forms. He comprehensively criticizes both the general family problems and the unique family issues of Korea. The family ideology of Korea is currently undergoing a radical change. It has been long since the traditional family ideologies have exposed problems to show the signs of crisis. Also, there have emerged various forms of families, including single-parent families, one-person families, adoption families, and multi-cultural families. In this respect, Park`s critical understanding of family ideologies allows you to see the obvious family forms from a new perspective and greatly contributes to awakening the essential questions about families. Park`s work is noticeable among the various artistic and literature pieces that deal with family issues because of his extraordinary skills to capture the key issues inherent in the problems of family ideologies.

KCI등재

4김지훈 작 <풍찬노숙>, 혼혈족의 혁명논리로부터 새로운 질서 찾기

저자 : 권경희 ( Kyoung Hee Kwon )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 127-170 (44 pages)

다운로드

(기관인증 필요)

초록보기

The primary concerns of this thesis simply stems from the curiosity of how the playwright Kim Jihoon lookouts a peculiar change of our spiritual, physical world. His lately work, , deals with a tribe of mixed blood who are either not shared by, or excluded from a national system, putting the writer`s emphasis on some hints that informs us his outlook on the world. And these hints summon the following doubts. What is the significance of constituting a national community in this age, particularly in the time when the end of national people is frequently being referred? In strengthening national compositions, can the national identity be a pivotal element and central mechanism? Can the identity be able to exercise the hegemonic functions containing the political rights of decisions? Does the identity still dominate the various collective bodies such as genders, races, regions, professions, generations and classes etc? Finally, as the manifests, can the national identity be a desirable alternative that may cease both confusions and disorders evoked by the collision of heterogeneity? To find the answer, the study starts from a search for the origin of the complexities immanent in the mixed blood. The terror syndrome and the ambiguous identity, both residing outside the border of normality, will characterise the origin. Then I will focus both on the tribe`s desperation itself and their present hope, in order. A myth of creating a country, making history and nationalism, all these are converged in their resistant ideology. This thesis ends with no clear conclusion, and yet suggesting the three presumptions the text insinuates: nomadism, a new barbarism, and the heterogeneity that awaits for our re-reading, and hoping that the three will lead the ``being-to-come`` of the tribe, as an alternative of their future.

KCI등재

5연극의 정치성에 대한 새로운 접근 -실험을 통한 감각의 분할과 타자의 현시

저자 : 이경미 ( Kyung Mi Lee )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 171-196 (26 pages)

다운로드

(기관인증 필요)

초록보기

In der vorliegende Arbeit wird die neue politische Moglichkeit des Theaters untersucht. Wie die politische Propaganda, die Volk mit den absoluten Dogmen zu uberzeugen, immer seltner geworden ist, haben ide alten Versuche des Theaters, ein Publikum mit einem Botschaft aufzuklaren und zu uberreden, ihre ehemalige Uberzeugungskraft verloren. In der heutigen Welt kann Theater leider nicht als eine moralische Anstalt mehr funktioniert. An diesem Endpunkt, wo Theater heute anzukommen scheint, gibt es aber auch Versuche, Theater auf neue Weise politisch zu machen. Es handlt sich hier naturlich nicht um Wiedergabe einer ideologischen Diskurs mehr, sondern um die Storung der Wahrnehmung der Zuschauer durch das Enthullung des Anderen, den die System des Neo-liberalismus verhullt. Damit der Anderen aufgezeigt wird, machen die verschiedene theatralische Experimente die Buhne zu einem leeren Raum, indem sie den gewohnlichen dramatischen Rahmen zu zerstoren versucht. In diesem Raum wird die Vorstellungskraft der Zuschauer erst aktiviert, dadurch die Zuschauer selbst entscheiden konnenn, was sie verstehen mochten und wie sie sich dazu verhalten sollen. All diese Prozesse mussen die Zuschauer auch als Individuum konstruieren. Die von tradionellen Theater getraumte Zuschauergemeinschaft, die der Botschaft aus der Buhne gleichmaßig zugestimmt hat, ist daher nicht mehr da. Im heutigen Theater handelt es sich um jeden Zuschauer, der selbst aktiv handelt. Solche Subjekt ist die echte demokratische, die in der heutigen politischen Wissenschaft mehrmals betont wird.

KCI등재

6광무대 연구 -제국의 시선으로부터 비껴간 근대 극장

저자 : 이주영

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 197-224 (28 pages)

다운로드

(기관인증 필요)

초록보기

光武臺は傳統演戱を興行した近代劇場であった。近代轉換期の以後演戱や演劇、映畵などの興行物たちは劇場という西歐式槪念の空間で實演·上映された。近代の以前、朝鮮で傳統演戱が行われた空間(劇場)は自然を背景とする野外舞臺だった。韓國の古典劇の時代には商業的室內劇場がなく、開化期に屋內劇場ができたため、これ以前には全ての公演藝術が野外で演戱されていた。近代轉換期の以後、西歐式近代劇場が朝鮮に建てられてから自然の中で<演行>されていた。演戱が室內劇場に入って<興行>になり始めた。光武臺は傳統演戱を積極的に室內へ引き入れた劇場であった。1907年5月末から東大門の內電氣倉庫に附屬した活動寫眞所の演劇場が光武臺と名づけられてから、光武臺は營利を目的とする本格劇場として傳統演戱と映畵を興行し始めた。當時、光武臺の公演レパ―トリ―をみると、<傳統演戱>と<近代的視覺物>で構成されていた。觀客は傳統の綜合演行物と近代的視覺が當時に露出されてから近代的視覺で訓練された。光武臺は1908年9月に朴承弼によって引き受けられ、傳統演戱の專用劇場になった。光武臺には朝鮮人、朝鮮のレパ―トリ―(傳統演戱)、朝鮮語などの種族空間として强い力が發揮できる要素に滿ちていた。ところで、種族性を喚氣させる反日のゲリラ的で、政治的なスキャンダルとパフォ―マンスで慌ただしかった劇場以外の劇場、例えば朝鮮劇場や團成社などの映畵常設館と比べ、メガ(mega)種族空間である光武臺は靜かであった。この硏究は光武臺が見せてくれたこのようなアイロニ―のような靜けさに注目する文である。この文は光武臺の興亡を檢討し、光武臺の失敗要因を演劇と映畵などの近代的視覺物との比較分析を通じて考察しようとする。最後に近代劇場の客席を補い、種族的スキャンダルを遂行した觀客層を通じて光武臺の靜けさについて論じる。

KCI등재

7이윤택의 연극-위기(crisis)의 미학과 담론성

저자 : 김정숙 ( Jeong Suk Kim )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 225-260 (36 pages)

다운로드

(기관인증 필요)

초록보기

In diesem Aufsatz handelt es sich um die Untersuchung uber die Theaterregiearbeit von Lee Youn-Tack, der 25 Jahre lang viele Theaterstucke inszeniert hat. Hier wird es mit dem Begriff ``Krisis`` gearbeitet, also unter dem Aspekt der Krise wird sein kunstlerisches Bewusstsein und sein Inszenierungsstil herausgearbeitet. Schließlich soll es bewiesen werden, dass Lees Theater als Asthetik der Krise darzustellen ist. Unter dem Aspekt der Narrativitat der Krise ist festzustellen, dass es bei seiner 25 jahrigen Arbeit wesentlich um die Krisendarstellung bzw. Krisenbewusstsein als Intellektuelle geht, und dass Lee gegenuber koreanische Gesellschaft und Gegenwartstheater Krisenbewusstsein hat und es bei seiner Arbeit und bei verschiedener Gelegenheit Diskurs gefuhrt hat. Hierbei ist es festzustellen, dass Krise erstens, als kritisches Bewusstsein, zweitens, als Bewusstsein uber die Ubergangszeit, drittens, als rituelle Inszenierungsstile dargestellt wurde. Letztlich wird in diesem Aufsatz kritisiert, dass sein Krisendiskurs auf der gewisser Weise fiktive Selbstinszenierungscharakter hat.

KCI등재

8상상력의 연극-이미지의 무대구성작업에 관하여 -김아라 연출작업에 나타난 새로운 무대언어

저자 : 남상식 ( Sang Sik Nam )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 261-288 (28 pages)

다운로드

(기관인증 필요)

초록보기

This paper attempts to research on the new language in the directing of Ara Kim. She was cranky on working on the stage to experiment with her own style since the 1980s and so opened a new dawn in modern Korean theatre. She leaded the Korean experimental theatre. The background of this experiment is her idea on theatre. And here, we have to look the subject that she setted for the work in Chuksan: Ritual Past, Ritual Present. To her, the theatre has the function of ritual and fest. The theatre suggests universal tragedy given to human as natural life force and has its own agenda to drive people to healing. For it, Ara Kim explores archetypal forms and languages before the fragmentation of genres of art. Her theatre shows the results of experiments in which such languages are recreated with modernized sensibilities. We here, for example by outdoor performance in Chuksan Human Lear, try to interpret the aesthetic principles that body out her ritual theatre. And what we looked at though, is the base of the ``complex-genre-music-theatre``, the methode to ``compose`` the stage elements and put it all together. The directing of Ara Kim has, in terms of the composition of the stage elements, much of the indisputable artistic value. Her theatre is, so to speak, theatre of image, and it is theatre of imagination that completed by the audience`s imagination. Human Lear which has its own characteristic in image fragments, convert the original Lear into a simple tale. It serves as background of the modern ritual that shows the most basic human instincts. We meet in Human Lear a ritual tale with some list of image for the human instincts. The arrangement of image, the montage of scene shows the performance as a kind of artistic space. In Human Lear the space is the natural one. It centers around the arena stage. The objects installed in the space changes it into the laboratory for ``seeing`` the happening. The spectators see the performance and at the same time see themselves in the nature laboratory. They see, and equally, they are visible objects. They see the performance and us in the space in which the performance takes place. That is what Ara Kim with her modern ritual really aims. That aim is to this days still in effect. It is a major driver of her experiments to extend the boundary of the theatre. The ritualistic site-specific performance in Akor Wat, Cambodia, A Song of Mandala is the latest great product from her experiments. On the other hand, she continues on her way to experiment with pure stage elements. The ``Station`` series(Station of Water, The Station of Sand, the Station of Wind) she recently showed are the non-verbal performance with all the stage elements: movement, sound, body, light, colour, objects and so on.

KCI등재

9임진택의 공동체 지향 연출론: 공동체적 세계관과 미학의 발현 -1970년대와 80년대 대학 공동체 마당굿 퍼포먼스 연출 시기에 초점을 맞추어

저자 : 이강임 ( Gang Im Lee )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 289-332 (44 pages)

다운로드

(기관인증 필요)

초록보기

In this paper, based on the theory of performance studies and community-based theatre, I venture to explicate the socio-political significance of director Yim Jin-Taek`s community-based performance called ``madanggut``, which is heavily based on elements of indigenous culture. Yim`s madanggut utilizes elements of indigenous cultures and searches for ``the Korean ethnic (arche)type`` as ``the ideal Korean type`` or ``genuine Korean-ness`` for the reconstruction of ``the Korean ethnic community.`` This paper interrogates the major task of Yim Jin-Taek`s madanggut, which ideologically promulgates the idea of ethnocentric patriarchy supported by the traditional (mainly Confucianist) notion of ``community``-inquiring if this type of theatre can provide useful and practical prospects for imagining a more democratic and plural civilian society in Korea today, when the interaction of globalization, nationalism, regionalism, and localism simultaneously impact our everyday life and cultural identification. Regarding the recent glob al phenomenon of the resurgence of nationalism, I looked at madanggut`s use of symbolic resources from the past for imaginative communal bonding as a nation. But, the claimed homogeneity of the national past by means of ``nation conflation`` of different social groups is an illusionary conceptualization, and the national historiography silences memories of the marginalized groups and denies their histories. It is certain that in Korea nationalism has historically performed an important function during the colonization and democratization period. Nevertheless, as Yim`s Nokdukkot realized, it cannot be overlooked that as a representative of ``the Korean ethnic community,`` ``the protecting man/the sacrificial woman`` is contradictory to the plural and lateral thinking of participatory democracy in community-building. It is time to think about a new political language that relates individuals to the community and nation. ``The ethnic type`` cannot represent the whole nation and the members of the nation should be the examples of the community they belong to for a more democratic society. I have selected Yim`s several community-based works mainly from the 1970s to the 1980s since the works provide grounding images, symbols, metaphors, and allegories pertinent to discussing how ``the Korean ethnic community`` has been narrativized through the performances of madanggut during the turbulent epoch of globalization. I hope that this paper presents Yim`s grounded aesthetics of community-based theatre with fully contoured critical views and ideas.

KCI등재

10채윤일의 고문연극 -이현화와의 만남을 중심으로

저자 : 이선형 ( Sun Hyung Lee )

발행기관 : 한국연극학회 간행물 : 한국연극학 48권 0호 발행 연도 : 2012 페이지 : pp. 333-358 (26 pages)

다운로드

(기관인증 필요)

초록보기

Dans l`histoire du theatre coreen, la position de Chae yoon-il est tres particuliere. Il a consacre, dans ses carrieres de la mise en scene, toute son energie au theatre sans jamais flechir contre le pouvoir dictatorial. Un critique a dit que son theatre est semblable au theatre de la cruaute. Pourtant, dans la mesure ou il respecte le texte dramatique, et que son theatre a des tendances de la politique et qu`il oriente l`engagement du spectateur, il est certain que son theatre est loin du theatre de la cruaute. Ses procedes de la mise en scene sont tres divers et il n`y a pas de coherences au niveau des styles dramatiques. Malgre cela, nous pouvons trouver son originalite de la mise en scene dans la rencontre avec Lee hyun-wha. Le metteur en scene etablit son esthetique theatrale en montant sur scene de cinq pieces de Lee hyun-wha. Alors, en effet qu`est-ce que l`esthetique de la mise en scene de Chae yoon-il produite par les œuvres theatrales de Lee hyun-wha? Dans les pieces de Lee hyun-wha, il y a beaucoup de codes symboliques de la violence sexuelle comme le sadisme et le masochisme. L`implusion sexuelle cachee dans le subconscient des personnages s`entrecroise avec le mecanisme du pouvoir politique. Alors, les abus sexuels et les mauvais traitements sur le corps deviennent une sorte de torture. L`expression cruelle des langages sceniques n`est autre que la revolte contre la realite actuelle de la politique. Son theatre de torture est donc une sorte de mecanisme de la catharsis pour dissiper le cauchemar et l`inconscient noir. La fantasie sexuelle construite par le monde inconscient de l`auteur dramatique s`epanouit dans le theatre de Chae yoon-il qui reve toujours l`esprit de la liberte. Une des convictions dramatiques du metteur en scene, c`est que le theatre tout d`abord doit etre choquant. Il dit: “l`art doit etre a la fois emouvant et bouleversant. Cependant, dans la mesure ou le film ou la televivion fait aujourd`hui une vive impression aux spectateurs, la part donnee au theatre est le choc.” Pour donner le choc aux spectateurs, le style de la torture est tres utile. L`esthetique theatral du metteur en scene respecte essentiellement l`intention de l`auteur. Neanmois, le respect sur l`original ne se derange pas l`interpretation de son propre idee. Dans l`insistance de la torture, l`analyse rituelle sous la base du choc, il projecte le symbole archetypal sur scene. Bien sur, il renforce le caractere de la politique dans le theatre de torture pour inviter des spectateurs de l`engagement. D`ailleurs, il y a l`aspect d`absurde dans le theatre de torture qui insiste des violences a travers les langages sceniques comme le metal froid, parce que le metteur en scene considere que l`etre humain vit dans l`absurde.

12

내가 찾은 최근 검색어

최근 열람 자료

맞춤 논문

보관함

내 보관함
공유한 보관함

1:1문의

닫기