1970년대 대구지역 소극장 연극 연구 (The Study of the Little Theater Plays in Daegue of 1970s)

서지정보

· 발행기관 : 한국어문학회
· 수록지 정보 : 어문학 / 104호 / 259 ~ 290페이지
· 저자명 : 김재석

초록

1970s is the time that the little theater plays began in Daegue : at this time 14 Korean plays and 7 plays in translation performed here.
The reason why these plays of Daegue in 1970s began to activate is that there were the support of YMCA, which was the group of citizens’ campaign representing Daegue. YMCA supported the Gonggan Theatrical Company’s little theater plays because they thought they were parts of citizens’ campaign. It also let Gonggan use its own small hall as a performance site. This kind of YMCA’s support played an important role in the little theatre movement in Daegue, since there was no theatre reserved only for little theatre plays at those days.
The Korean plays of little theatre performed in Daegue of 1970s showed two inclinations. First, there were the plays which revealed the existential cognition on human existence and Yun Dae-sung’s Chulbal (The Start) was the representative work of this inclination. The intellectuals of Daegue in those days were interested in the existentialism, which made the theatrical people choose the plays of this kind. Most of them showed the vanity in life and it seemed that their helplessness under the Park Junghee’s dictatorial government was reflected in these works.
As the second inclination, there were the works which had the critical perception on the political and social situation in 1970s. Like Lee Jae-hyun’s Elevator, they criticized the discontinuity of communication which the people felt in modern society and they had the critical meaning of the policy of government focused on only the economical development. They also criticized the dictatorial system and O Tae-seok’s The Baby Carridge of the Overhead Bridge dealt with the repressive rule and the citizens’ social fear as its result. The fact that the many plays criticizing the political and social situation in very conservative Daegue had performed is important ; the theatrical people’s will to resist to this dictatorial government through making use of the critical function of play can be read. It was possible for the theatrical people of Daegue to cooperate with YMCA.
The theatrical people in Daegue of 1970s tried to follow the little theatre plays in Seoul, because they thought that it could be lessen the mistakes resulted from the lack of experience to choose the works performed in Seoul. But it was not necessary for the plays performed in Seoul to perform invariably in Daegue. This tendency to follow the little theatre plays in seoul resulted in the those of Daegue being subordinate to them. Besides they didn’t have enough thought of which plays Daegue needed, so they didn’t make enough efforts to find out the works which have the regional characteristics of Daegue and perform them. But to overcome this disadvantage that the plays of Daegue were subordinate to those of Seoul, the theatrical people of Daegue began to try in 1980s.

영어초록

1970s is the time that the little theater plays began in Daegue : at this time 14 Korean plays and 7 plays in translation performed here.
The reason why these plays of Daegue in 1970s began to activate is that there were the support of YMCA, which was the group of citizens’ campaign representing Daegue. YMCA supported the Gonggan Theatrical Company’s little theater plays because they thought they were parts of citizens’ campaign. It also let Gonggan use its own small hall as a performance site. This kind of YMCA’s support played an important role in the little theatre movement in Daegue, since there was no theatre reserved only for little theatre plays at those days.
The Korean plays of little theatre performed in Daegue of 1970s showed two inclinations. First, there were the plays which revealed the existential cognition on human existence and Yun Dae-sung’s Chulbal (The Start) was the representative work of this inclination. The intellectuals of Daegue in those days were interested in the existentialism, which made the theatrical people choose the plays of this kind. Most of them showed the vanity in life and it seemed that their helplessness under the Park Junghee’s dictatorial government was reflected in these works.
As the second inclination, there were the works which had the critical perception on the political and social situation in 1970s. Like Lee Jae-hyun’s Elevator, they criticized the discontinuity of communication which the people felt in modern society and they had the critical meaning of the policy of government focused on only the economical development. They also criticized the dictatorial system and O Tae-seok’s The Baby Carridge of the Overhead Bridge dealt with the repressive rule and the citizens’ social fear as its result. The fact that the many plays criticizing the political and social situation in very conservative Daegue had performed is important ; the theatrical people’s will to resist to this dictatorial government through making use of the critical function of play can be read. It was possible for the theatrical people of Daegue to cooperate with YMCA.
The theatrical people in Daegue of 1970s tried to follow the little theatre plays in Seoul, because they thought that it could be lessen the mistakes resulted from the lack of experience to choose the works performed in Seoul. But it was not necessary for the plays performed in Seoul to perform invariably in Daegue. This tendency to follow the little theatre plays in seoul resulted in the those of Daegue being subordinate to them. Besides they didn’t have enough thought of which plays Daegue needed, so they didn’t make enough efforts to find out the works which have the regional characteristics of Daegue and perform them. But to overcome this disadvantage that the plays of Daegue were subordinate to those of Seoul, the theatrical people of Daegue began to try in 1980s.

참고자료

· 없음