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1940년대 신극계의 정체성 형성과정 연구
분야 예체능 > 연극영화
저자 정수연 ( Soo Yeon Jung )
발행기관 한국연극학회
간행물정보 한국연극학 2005년, 제26권 233~272쪽(총40쪽)
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연관 논문
민족을 기억하는 문학적인 방식 - 1940년대 중반 기념시집을 중심으로
여성농민의 사회적 정체성 형성과 여성농민운동의 발전 - 전국여성농민회총연합(전여농)을 중심으로
1940년대 출생 여성노인의 구술생애사를 통해 본 현모양처이데올로기와 산업화시기 전문직 여성의 노동경험 -
중앙아시아 고려인사회의 정체성과 홍범도 인식(1937~1964) -
결혼이주여성의 사회적 연결망과 정체성 연구
 
 
영문초록
The purpose of this study is to examine the process that the identity of modern theatre in 1940s was established. Generally the modern theatre in 1940s has been discussed centered on the political environment, which is the Japanese Colonial Period and the Period of U.S. Army Military Government in Korea. However, this external circumstance functioned, for the modern theatre of that period, as the factor that made its internal standard established. Unlike the self-controlling performance order which was centered on the dramatic company before, the theatre system formed in the Japanese Colonial Period and the Period of U.S. Army Military Government in Korea was appeared as the device that made the association-centered controlling order regularized. This device became the criterion that distinguished systematically admitted from unadmitted and according to this criterion, they discriminated between `good theatres` and the theatres which were not. Consequently, through 1940s, the modern theatre had come to get its position as `good theatre which was admitted systematically`. The first thing that the field of modern theatre wanted to exclude by the system was the popular theatre. In fact, there were two steps on the discrimination. The first distinction was to eliminate the popular theatre by the system, and the second one was to extend the concept of realism to that of formality. The modern theatre tried to gain the originality in its contents which were distinct from the dramatic degree of completion that the popular theatre accomplished. The discussion of the modern theatre whose keynote was the romanticism was about the extension of the concept of realism to the aspects of the formality. Since then, the formal degree of completion was recognized as the way they could innovate the modern theatre newly, and this kind of discussion became the motive power to release the theatre from the field of reality to the field of art. After Korea was released from the domination of Japanese Imperialism, passing through the Period of U.S. Army Military Government in Korea, the identity of the modern theatre became more precise. In the Japanese Colonial Period, though the modern theatre secured its identity through the passive process of `excluding` the others, it tried to accomplish its artistic originality by `identifying` itself with the others in the Period of Korea Liberation. The object for identifying was the foreign theatre in translation. This current requested a new group of the intellectuals who had a literary ability and professionality to introduce the foreign theatre in translation. In the core of that, there were college students and college theatre. The college students were the introducers and the consumers who imported the newest U.S. culture at this time of the transition period of culture. The college theatre that they led came to rise as the subject which transfused the new theatre by overcoming various realistic problems, such as the inferiority complex that the modern theatre had about the literature, artistic weakness of the existing dramatic company which was in charge of national policy performance, and the censorship system which was relatively easy to pass. While the human resources who had the academic capital were built up, the foreign theatre in translation, which was authorized as theatrical canon, was accepted to the field of the modern theatre as theatrical classics. Regardless of the fact whether it was actually played or not, and the verification by the receptivity of audience, it was accepted as the standard of value which was already formed. By putting down its root as not only `the text that should be performed`, but also `the text that should be preserved` by the educational system, the foreign theatre in translation was established as a criterion to estimate the theatrical achievement of all theatres. The fact that the Shakespeare theatres, which had never been played in the Period of Korea Liberation,
 
 
신극, modern theatre, 대중극, popular theatre, 대학극, college theatre, 학력자본, academic capital, 셰익스피어, Shakespeare
 
 
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