1980년대 초 대구지역 소극장 「분도」와 「누리」 연구 (A Study on Little theatre Boondo and Nuri in early 1980s, Daegu)

서지정보

· 발행기관 : 한국연극학회
· 수록지 정보 : 한국연극학 / 1권 / 44호 / 5 ~ 29페이지
· 저자명 : 김재석

초록

이 논문의 목적은 1980년대 초 대구에 설립되었던 소극장 「분도」와 「누리예술극장」(이하 소극장 「누리」로 표기)이 어떤 특징을 지니고 있는가를 문화상대주의 관점에서 밝혀보는 것이다. 소극장 분도는 1980년 7월에 설립되어 1년 정도 운영되었으며, 소극장 「누리」는 1982년 5월에 설립되어 역시 1년 정도 운영되었다.
소극장 「분도」는 1970년대 대구지역 소극장 연극운동과 단절하고, 독자적인 입장을 지키려고 하였다. 소극장 「누리」는 1970년대 대구지역 소극장 연극운동을 계승하고, 대구지역 연극과 연대성을 추구했다. 소극장 「분도」는 실험적인 전위극의 전문성을 확보하여 대구지역 소극장 연극의 정체성을 확보하고자 했다. 소극장 「누리」는 완성도 높은 공연작품을 확보하여 대구지역 소극장 연극의 정체성을 확보하려고 하였다. 1980년대 초에 활동했던 소극장 「분도」와 「누리」는 대구지역 소극장 연극의 정체성에 대한 고민을 본격화 하였고, 소극장 연극운동의 방향성에 대한 고민을 실천적으로 해결하려 했다는 점에서 연극사적인 의미가 크다.

영어초록

The aim of this essay is to clarify the characteristics of the little theatre movement of Daegu in 1980s with the object of little theatre, Boondo and Nuri.
The little theatre Bundo was established in the July of 1980 and closed in the July of 1981. The Bundo aimed at their performance of experimental avant-garde theatre such as Offending the Audience which was performed by the 76 theatrical company of Seoul invited by Bundo. It was shown that the little theatre, Bundo was the center of avant-garde arts by holding the Festival of Modern Arts, Hanpan 80 in the September of 1981. But Bundo had much difficulty in preparing the works of performance since it could not establish the theatrical company which performed the avant-garde plays specially for it. So Bundo managed to operate the theatre by lending it and it came to be closed finally.
The little theatre Nuri was established in the May of 1982 and closed in the July of 1983. It aimed at performing the popular works of small scale and so as its opening performance, they selected Love Play, the work with strong popularity which was adapted from Muray Shisgal's The Tiger. It had Wongaksa, as the theatrical company which belonged to Nuri, but Wongaksa didn't execute the role as the theatrical company which belonged to it well, since it couldn't produce works continuously. So Nuri didn't perform Wongaksa's works and after the January of 1983, it managed to operate the theatre by lending it without the performance of theatrical company which belonged to it because of its financial difficulty till it was closed.
The little theatre Bundo and Nuri had the opposite aims in operating their theatre; while Bundo tried to play a central role in the experimental avant-garde theatre, Nuri tried to become the place in which the audience could watch the plays comfortably. We can get two lessons from their operation. In other words we can learn that it is difficult to operate the theatre stably by means of only the income of the little theatre and that without the theatrical company belonging to it, the little theatre can't but have the difficulty in making the features on its own.
Thanks to the little theatre, Bundo and Nuri, the little theatre movement of Daegu came to get in its stride. Nevertheless its tendency to be subordinate to the theatre in Seoul became much stronger. This was because Bundo and Nuri could have little thought of the direction of the little theatre movement of Daegu. Bundo didn't aim at producing continuously the experimental avant-garde works in Daegu and Nuri didn't try to create the works being representative of Daegu trying to select the work with popularity to the public instead of taking a risk with the works which was unfamiliar to the audience.

참고자료

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