'아시'에서 현실로 나아가는 여정 : 오태석 <운상각> Oh, Tae-Suck's play 「WoonSangGak」 = The Journey From the 'Asi'(the Life Stuck to the Past) to the Present

다국어 초록 (Multilingual Abstract)

This paper is supposed to analyze the type of the characters and the meaning of their living space. The characters in 「WoonSangGak」are showing the different way to undergo the tragedy of a fratricidal war, and feeling the pain in different strength among the generations. In the analysis of the space, I will look for the meaning that 'SonAmRi', the main space of 「WoonSangGak」, has in the world of the Oh, Tae-Suck's works, and then through the analysis of the 'yard' and the 'bamboo thicket', the main space of the characters, I will show you what 'SonAmRi' is meaning on the whole in 「WoonSangGak」. And last, I'll prove how the life of 'Asi(아시)' is transformed to the real life through the analysis of 「WoonSangGak」.
With the view of the structure of 「WoonSangGak」, the characters in this play can be devided into three categories. Frist category is the characters who are still suffering the war as the present. Second one is the postwar generation who never go through the war. Third one is the type of Young-Gi's generation, even if his positioning is a little sure.
'SonAmRi' for Oh, Tae-Suck is the most influencing space to his personal life. He adapted the experience in 'SonAmRi' into his working in an active way. And the space of 「WoonSangGak」 is based on this 'SonAmRi'.
The space of 「WoonSangGak」 is made of the three space, the bamboo thicket, the yard and the 'WoonSangGak', background of the pictrue.
When the bamboo thicket is the wayout to the space of escape or atonement, the yard in 「WoonSangGak」 is the space which is able to communicate with the outside world, opened to the bamboo thicket, the wayout to the escape, or the open space which leads to the world of death with having a funeral in there. 'WoonSangGak' is used as a bridge for HaeNamDack to connect the past with the present over 40 years.
Oh, Tae-Suck would lead himself still living as 'Asi(아시)' and the whole lives our people to the new world through the yard as the space of the reconciling and realizing the wishes and 'WoonSangGak' turning the life as 'Asi(아시)' to the real life.

목차 (Table of Contents)

• 1. 서론
• 2. <운상각>의 인물 분석
• 2.1. 진행형의 전쟁을 안고 사는 전쟁 세대
• 2.2. 전쟁의 상흔을 지고 가는 전후 세대
• 2.3. 전쟁 상흔의 다양한 형태들
• 3. <운상각>의 공간 분석
• 3.1. <운상각>의 원형적 공간: ‘충청도 선암리’
• 3.2. 화해와 해원의 공간: ‘마당’과 ‘대숲’
• 3.3. ‘아시’와 ‘현실’의 경계: ‘운상각’
• 4. 결론

참고문헌 (Reference)

1 "희곡의 세계" 태학사 60-, 1998

2 "작가의 고향－하늘로 날아간 할아버지 자전거" (8월호) : 460-, 1999년

3 "오태석의 창작활동－인터뷰｣" 5173 : 1994

4 "오태석의 연극 세계" 현대미학사 250-, 1995

5 "오태석 희곡의 공간 연구" 23-24, 2000

6 "오태석 희곡의 개방성 연구" 10-, 2000

7 "오태석 희곡에 나타난 영화적 기법 연구" 민족어문학회 47 : 279-280, 2003

8 "오태석 연극 : 실험과 도전의 40년:연극과인간" 147-151, 2002

9 "실험적 언어와 오브제의 연극적 코너웍" 평민사 (2) : 309-310, 1994

10 "사진 한 장으로 남은 인생의 꾸미기와 허무주의｣" 5173 : 293-, 1994

11 "문학비평 용어사전" 민음사 118-, 2001

12 "70년대의 초상－상황적 고통의 확인｣" 5173 : 275-, 1994