사극 속 갑주에 관한 연구 (A Study on Armor in Korean Historical Drama)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 27권 / 27호 / 101 ~ 132페이지
· 저자명 : 장혜숙

초록

Historical drama has more meaning and value to the public than simply enjoying. It could be fun and easily accessible visual history textbook to most of the people. It also looks back to the past and illuminates the future as a mirror of the times and life and eventually reminds us a sense of pride for our people and culture.
Under the oppression inside the border of the history, the width of imagination and freedom of expression of historical drama has been relatively limited by comparing with other genres and media. Drama is, however, drama, not a documentary. It is, therefore, impossible to fully coincide with the historical facts. Creative imagination is a necessary element to achieve dramatic structure because it is essential artistic working conditions to some extent in the reconstructed, reinterpreted, and re-creation process. This process could solve viewers yearning for the history of communication. For the successful process, however, it should be given a rationale for anyone to admit and represented in creative ways under the boundary of such a permissible logic.
The war has emerged as an essential element in the drama hanging between the past and the present, and dream and reality. Wearing armor during the war, therefore, became an important yardstick in determining the success of the drama. Due to the limitations of remaining historical data, the armor is difficult to be verified with historical research during construction, leaving to the imagination which becomes essential process for the completeness and genre characteristics of the historical drama. It has been unfortunately true and unsatisfactory in representing higher level of armor by the lackness of historical research and limitation of budget and time, Armor recycling and random mixing of style, therefore, would be a frequent happening in historical dramas. In addition, we were so generous to excessive design transformation and fusionism drama having unknown nationality in the flow of modernization for the popularity ratings. Recently, however, China's Northeast Project, distortion of history in Japan and Korean history textbooks in compulsory subjects specified and controversial, such as confusion and identity issues of history, become a center of attention aspiring to 'correct history' requiring historical facts and materials based on meticulous historical research. People now requires a high level of drama having such a fundamental research. Accordingly, expression of the armor in drama also raised gradually the level of construction and expression area and increased the completeness of the historical drama with more advanced, decorated and refined skills by focusing on the factual representations and visuals with the development of technology.
This study shows costumes and the relations between historical research and imagination through the gaps of history and historical drama, The historical research and the problems of the modern transformation of ancient armor were discussed through the drama producted in recent years by focusing on the evolved face of the armor in the drama of TV and film. Especially the armor with investigation through the historical research of <Geunchogowang> has been analyzed with an attention to the development of the lightweight and durable material from Gyeongbeongab of <Jeongdojeon>, and the evolution of appropriate design transformation for a film through <Myungryang>. Finally, higher level of historical drama could be expected from the desirable costume study based on understanding that the relationship between correct history with historical drama is to be the one with the fact and imagination, and historical research and media transformation, not truth and lies. It is very notable that the creative balancing of the underlined gap would lead to the historical drama remaining significant arts and meaningful records in our history.

영어초록

Historical drama has more meaning and value to the public than simply enjoying. It could be fun and easily accessible visual history textbook to most of the people. It also looks back to the past and illuminates the future as a mirror of the times and life and eventually reminds us a sense of pride for our people and culture.
Under the oppression inside the border of the history, the width of imagination and freedom of expression of historical drama has been relatively limited by comparing with other genres and media. Drama is, however, drama, not a documentary. It is, therefore, impossible to fully coincide with the historical facts. Creative imagination is a necessary element to achieve dramatic structure because it is essential artistic working conditions to some extent in the reconstructed, reinterpreted, and re-creation process. This process could solve viewers yearning for the history of communication. For the successful process, however, it should be given a rationale for anyone to admit and represented in creative ways under the boundary of such a permissible logic.
The war has emerged as an essential element in the drama hanging between the past and the present, and dream and reality. Wearing armor during the war, therefore, became an important yardstick in determining the success of the drama. Due to the limitations of remaining historical data, the armor is difficult to be verified with historical research during construction, leaving to the imagination which becomes essential process for the completeness and genre characteristics of the historical drama. It has been unfortunately true and unsatisfactory in representing higher level of armor by the lackness of historical research and limitation of budget and time, Armor recycling and random mixing of style, therefore, would be a frequent happening in historical dramas. In addition, we were so generous to excessive design transformation and fusionism drama having unknown nationality in the flow of modernization for the popularity ratings. Recently, however, China's Northeast Project, distortion of history in Japan and Korean history textbooks in compulsory subjects specified and controversial, such as confusion and identity issues of history, become a center of attention aspiring to 'correct history' requiring historical facts and materials based on meticulous historical research. People now requires a high level of drama having such a fundamental research. Accordingly, expression of the armor in drama also raised gradually the level of construction and expression area and increased the completeness of the historical drama with more advanced, decorated and refined skills by focusing on the factual representations and visuals with the development of technology.
This study shows costumes and the relations between historical research and imagination through the gaps of history and historical drama, The historical research and the problems of the modern transformation of ancient armor were discussed through the drama producted in recent years by focusing on the evolved face of the armor in the drama of TV and film. Especially the armor with investigation through the historical research of <Geunchogowang> has been analyzed with an attention to the development of the lightweight and durable material from Gyeongbeongab of <Jeongdojeon>, and the evolution of appropriate design transformation for a film through <Myungryang>. Finally, higher level of historical drama could be expected from the desirable costume study based on understanding that the relationship between correct history with historical drama is to be the one with the fact and imagination, and historical research and media transformation, not truth and lies. It is very notable that the creative balancing of the underlined gap would lead to the historical drama remaining significant arts and meaningful records in our history.

참고자료

· 없음