<1동 28번지, 차숙이네>의 사물연극으로서의 전략과 실험성 (A Study on Strategies as Object Theater and Experimentation of <1Dong 28Bunji, Chasuk's>)

서지정보

· 발행기관 : 한국연극학회
· 수록지 정보 : 한국연극학 / 1권 / 46호 / 125 ~ 161페이지
· 저자명 : 김숙경

초록

The work of Choi, Jin-ah, <1Dong 28Bunji, Chasuk's> pursues theater which is focusing on objects. This is totally different from traditional theater custom which focuses on human conflict and solution. Choi is basically interested in new methods of communication with audience and this interest is reflected in <1Dong 28Bunji, Chasuk's>. This study has examined strategies as object theater and experimentation of this theater. <1Dong 28Bunji, Chasuk's> obviously has a meaningful effect on today's Korean theater in that it extends the concept of theater.
Regarding narratives, this theater achieved characteristic of object theater through ‘foregrounding of objects’ and ‘backgrounding of human’. Specifically concerning it, this theater focuses on a house and minimizes human conflict and episodes and refrains from a closing-plot. This multilateral strategy consistently exposes house to the front. That is to say, a person as a subject moves backward and a house as an object moves forward.
This theater provides various discourse about a house. This is realized through various approaches. First, a house is actually built on the stage and the materiality of house becomes discourse through the method of ‘existence’ and ‘experience’. The audience witnesses the procedure of building a house and experiences the materiality of house. Second, with the method of narrator, it approaches the historicity of the house. Explanation intervenes between representational stories and the technique of explanation seems to be objective narration. The explanation mainly consists of the knowledge related to history of house such as the change of house materials, the history of construction tools, the history of house appearance and the change of internal house structure. Third, it approaches the spirituality of house through the human story. The spirituality of house such as the relation between a house and a person and the meaning of house is approached through Chasuk's old house, the memory of father and family conflict surrounding the new house. Through the various approaches and discourse of house, Choi intends that <1Dong 28Bunji, Chasuk's> becomes theater for knowledge and recognition. Audience newly discovers and recognizes a house familiar with us through the work. In addition, new discovering and recognizing of a house leads to the rediscovery and recognition of the relation between a house and a person, and this extends to new discovering and recognizing of human.
<1Dong 28Bunji, Chasuk's> represents one example of meaningful experimentation of subject, reception aesthetics and styles of theater and this is a significant meaning of this theater. The experimentation of this theater is not exceptional and radical. However, this theater has particularity in that it raises the essential question-what theater is and actualizes new theater method on the stage in the traditional theater category.

영어초록

The work of Choi, Jin-ah, <1Dong 28Bunji, Chasuk's> pursues theater which is focusing on objects. This is totally different from traditional theater custom which focuses on human conflict and solution. Choi is basically interested in new methods of communication with audience and this interest is reflected in <1Dong 28Bunji, Chasuk's>. This study has examined strategies as object theater and experimentation of this theater. <1Dong 28Bunji, Chasuk's> obviously has a meaningful effect on today's Korean theater in that it extends the concept of theater.
Regarding narratives, this theater achieved characteristic of object theater through ‘foregrounding of objects’ and ‘backgrounding of human’. Specifically concerning it, this theater focuses on a house and minimizes human conflict and episodes and refrains from a closing-plot. This multilateral strategy consistently exposes house to the front. That is to say, a person as a subject moves backward and a house as an object moves forward.
This theater provides various discourse about a house. This is realized through various approaches. First, a house is actually built on the stage and the materiality of house becomes discourse through the method of ‘existence’ and ‘experience’. The audience witnesses the procedure of building a house and experiences the materiality of house. Second, with the method of narrator, it approaches the historicity of the house. Explanation intervenes between representational stories and the technique of explanation seems to be objective narration. The explanation mainly consists of the knowledge related to history of house such as the change of house materials, the history of construction tools, the history of house appearance and the change of internal house structure. Third, it approaches the spirituality of house through the human story. The spirituality of house such as the relation between a house and a person and the meaning of house is approached through Chasuk's old house, the memory of father and family conflict surrounding the new house. Through the various approaches and discourse of house, Choi intends that <1Dong 28Bunji, Chasuk's> becomes theater for knowledge and recognition. Audience newly discovers and recognizes a house familiar with us through the work. In addition, new discovering and recognizing of a house leads to the rediscovery and recognition of the relation between a house and a person, and this extends to new discovering and recognizing of human.
<1Dong 28Bunji, Chasuk's> represents one example of meaningful experimentation of subject, reception aesthetics and styles of theater and this is a significant meaning of this theater. The experimentation of this theater is not exceptional and radical. However, this theater has particularity in that it raises the essential question-what theater is and actualizes new theater method on the stage in the traditional theater category.

참고자료

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