최연호의 삽화로 보는 유치진의 농촌 3부작 = Yoo ChiJin`s “The Trilogy of a Farm Village” Interpreted through Choi Yeonho`s Illustrations

다국어 초록 (Multilingual Abstract)

“The Collection of Yoo Chijin`s Plays” (Sung Moon Gak edition) shows the best of his plays published in his lifetime. In the Collection, illustrations by Choi Yeonho, one of the Korean set designers representing the history of Korean stage art, are included. This study looked into 3 works “Tomack” (A Mud Hut), Budnamu sun dongne ponggeong (Scene for The Villege with Willows), and “So” (Cow), generally considered Yoo Chijin`s The Trilogy of a Farm Village, his representative works, through Choi Yeonho`s illustrations. These illustrations not only display Choi Yeonho`s perspectives well－realism, present meaning, comprehensive considerations on stage, etc.-but also become one new basis for interpretation of Yoo Chi-jin`s plays. First, through the illustrations in Tomack Choi Yeon-ho used intricate angled strokes that were for depicting the s tage to provide the space Tomack, s imilar to a tomb, with dignity that can be seen in ancient ruins; and by doing so he showed respect for the history of Tomack residents, who lived in poverty. In Budnamu sun dongne ponggeong, he dismantled archetypal placeness that is expressed through willow trees and criticized the reality where the growth and development of trees were not normal, and what is more, implied the advent of industrial society by depicting the reality as weeping willows, which mean the demimonde. In So, he provided the characters` behaviors with strong senses by positioning the cowshed, a space, noticeably; and showed discernment-he considered the gaze of the audience as well as that of the cow. That is, his illustrations are one important example of the interpretation of Yoo Chijin`s plays; and it can be seen that his illustrations of the stage are an aesthetic subject sending illustration`s own messages, greatly extending the stage art`s imagination unlike the real performances. In addition, it is thought that doing this would be able to help gain a foothold in the new understanding of plays, as it is possible to check what interpretations Choi Yeonho added and how he displayed them to the readers / audience through illustrations in 1971, the point when the Collection was released based on his interpretations through illustrations.

참고문헌 (Reference)

1 "희곡집 상" 민중서관 1959

2 "토막"

3 최연호유작집 간행위원회, "최연호 무용 무대미술의 어제 그리고 오늘" 혜힐 1998

4 최연호무대미술 간행위원회, "최연호 무대미술" 디자인하우스 1997

5 유치진, "제일선" 1932

6 유진오, "제3회 극연 공연을 보고"

7 곽건흥, "일제하의 빈민－토막민, 화전민" 46 (46): 1999

8 "유치진희곡전집 (상, 하)" 성문각 1971

9 윤금선, "유치진희곡연구" 연극과인간 2004

10 윤진현, "유치진 희곡 <토막>의 공연성 연구- 1971년 성문각판 『유치진전집』 소재본을 중심으로 -" 세계문학비교학회 (46) : 27-59, 2014

11 서연호, "우리시대의 연극인" 연극과인간 2001

12 니키 로버츠, "역사 속의 매춘부들" 책세상 2004

13 윤진현, "식민지의 풍경, 신화적 공간의 해체와 현실적 생존법의 모색 - 『조선중앙일보』판 유치진 <버드나무 선 동리의 풍경>을 중심으로 -" 한국극예술학회 (52) : 15-51, 2016

14 "소" 행문사 1946

15 "소"

16 윤금선, "사회와 인간, 반영의 무대" 월인 2004

17 "버드나무 선 동리의 풍경"

18 서연호, "동시대의 삶과 연극" 열음사 1988

19 "동랑 유치진전집 1～9" 서울예대 출판부 1993

20 공성수, "근대 소설의 형성과 삽화 연구" 서강대학교 대학원 2014

21 심훈, "극예술연구회 제 오회 공연관극기 (4)"