최승희의《 풍랑을 뚫고》창 작 과정에 작용한 북한식 사회주의적 사실주의 (Socialist realism in North Korean style reflected in Ch’oe Sung-hui’s production of P’ungnang ul ttul’ko (throughout the storm))

서지정보

· 발행기관 : 한국무용교육학회
· 수록지 정보 : 한국무용교육학회지 / 26권 / 3호 / 119 ~ 135페이지
· 저자명 : 오세준

초록

This study pursues understanding an aspect of Ch’oe Sŭng-hŭi's method for making dance productions focusing on P’ungnang ŭl ttul’ko (Throughout the Storm), her production following the dogma of Socialist Realism. After she had defected to North Korea in 1946, Ch’oe Sŭng-hŭi served for building North Korea with her dance. As art was allowed only for the political aims of the communists, Socilaist Realism in North Korean style was the only method available for the artists in the land. Ch’oe Sŭng-hŭi, therefore, saw the heyday of the Chinbochǒk sasil chuŭi’(Progressive Realism) when she arrived in North Korea and made the production of P’ungnang ŭl ttul’ko in 1949 reflecting the Kosanghan sasil chuŭi’(Sublime Realism) after Kim Il-sǒng suggested this new dogma.
Ch’oe Sŭng-hŭi explained that she showed the "sublime" character of the Korean nation that overcame ordeals in order to realize "sublime goal" through the production of P’ungnang ŭl ttul’ko. The hero of P’ungnang ŭl ttul’ko, an old boatman, crosses the sea in order to join the revolutionary riot in Cheju Island. Even though the wild sea threatens his life during the night, he bravely keeps rowing his boat and finally arrives in his destination. With this image of the old man, Ch’oe Sŭng-hŭi praised the ongoing process the communist revolution in North Korea and showed her optimistic vision for the revolution.

영어초록

This study pursues understanding an aspect of Ch’oe Sŭng-hŭi's method for making dance productions focusing on P’ungnang ŭl ttul’ko (Throughout the Storm), her production following the dogma of Socialist Realism. After she had defected to North Korea in 1946, Ch’oe Sŭng-hŭi served for building North Korea with her dance. As art was allowed only for the political aims of the communists, Socilaist Realism in North Korean style was the only method available for the artists in the land. Ch’oe Sŭng-hŭi, therefore, saw the heyday of the Chinbochǒk sasil chuŭi’(Progressive Realism) when she arrived in North Korea and made the production of P’ungnang ŭl ttul’ko in 1949 reflecting the Kosanghan sasil chuŭi’(Sublime Realism) after Kim Il-sǒng suggested this new dogma.
Ch’oe Sŭng-hŭi explained that she showed the "sublime" character of the Korean nation that overcame ordeals in order to realize "sublime goal" through the production of P’ungnang ŭl ttul’ko. The hero of P’ungnang ŭl ttul’ko, an old boatman, crosses the sea in order to join the revolutionary riot in Cheju Island. Even though the wild sea threatens his life during the night, he bravely keeps rowing his boat and finally arrives in his destination. With this image of the old man, Ch’oe Sŭng-hŭi praised the ongoing process the communist revolution in North Korea and showed her optimistic vision for the revolution.

참고자료

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