동양적 헤로인(heroine)의 창출― <春香傳>과 1930년대 동아시아 연극 (The Creation of Oriental Heroin― Syunkoden and East Asian Theater in 1930s)

서지정보

· 발행기관 : 성균관대학교 대동문화연구원
· 수록지 정보 : 대동문화연구 / 108호 / 363 ~ 400페이지
· 저자명 : 김재석

초록

이 글에서는 <슌코덴>의 공연에 대하여 동아시아 신극을 목적으로 한 무라야마 토모요시의 혼종화(hybridization) 시도라는 관점에서 접근하고자 한다. 전향 후 주변부적 인물로 전락한 무라야마 토모요시는 재기를 위하여 프로극을 포기하고, 츠키지쇼게키죠의 신극운동을 계승하는 전략을 세웠다. 그는 연극의 직업화를 통한 신극의 재건을 주장했고, 1934년에 출범한 신쿄게키단에서 그 가능성을 증명하고자 했다. 그러나 3년 동안의 노력에도 불구하고 성과가 크지 않았고, 강화된 검열은 정상적인 연극 공연마저 불가능하게 만들었다. 무라야마 토모요시는 혼종의 신극 <슌코덴>으로 난관을 돌파하고자 했다. 동양 헤로인 춘향을 앞세워 일본이라는 지역성을 넘어서려 하였고, 가부키의 연기술 카타(型)를 신극 공연에 도입하여 동서양 연극의 경계를 흔들어버렸다. <슌코덴>은 1930년대 동아시아 연극계에 상당한 영향을 남겼다. 공안당국의 신극을 거부하는 공연주체의 저항성을 보여주었고, 동아시아 신극계를 지배하고 있던 예술적 연극/비속적 연극의 이분법적 도식을 해체하였다는 점은 특히 기억할 만하다.

영어초록

This paper is aimed at grasping the meaning of the theater historical meaning of Syunkoden(春香傳) performed by Theatre Group Sinkyogekidan. That is, the purpose of this paper is to find out that Syunkoden is the result of hybridization which Mrayama Tomoyosi had tried for the purpose of creating East Asian Singeuk.
Though Mrayama Tomoyosi was commonly acknowledged to be a leader in proletarian theater community, he became a peripheral figure, turning after he had been arrested. He gave up proletarian theater for his comeback and set up a strategy to succeed Tukijisyogekijo’s Singeuk movement. He insisted the reconstruction of Singeuk by means of professionalization of theater to take the initiative in Singeuk movement and tried to prove the possibility with Theatre Group Sinkyogekidan. But as the result of 3 year performances, it turned out that it was difficult to achieve financial independence solely by the Singeuk audience and it was at stake even to continue to perform in the social atmosphere worsened by the war.
Mrayama Tomoyosi tried to break through the difficulty, creating East Asian Singeuk beyond Japan through hybridization. He tried to go beyond the locality of Japan by choosing Chunhyangjeon of Chosŏn as a material and broke down the boundary between Eastern theater and Western one by introducing Kata(型), acting technique of Kabuki in spite of Singeuk. The story of Chunhyang, an Eastern heroine who is good, weak, but royal had strong popularity, so it had the advantage to attract the audience and the strong point to pass the censorship of public security authorities without fail.
Syunkoden, the hybrid Singeuk left a significant impact on the East Asian theater community in 1930s. It showed the resistance of performing subjects who denied Singeuk encouraged by public security authorities and broke up the dichotomy between artist play and vulgar play. It also served as an opportunity to change the perception of people in charge of performance who had regarded Singeuk as a classical form. Lastly, the performance of Syunkoden also influenced the change in the theatrical people’s perception on the identity of Singeuk in colonial Chosŏn.

참고자료

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