柳致眞의 演劇批評 硏究 = (A) Study on Yoo Chi-jin's Theatrical Criticism

다국어 초록 (Multilingual Abstract)

The purpose of this study is to establish the Yoo Chi-Jin(柳致眞)'s position as a theatric critic through surveying his theatric criticism. This study makes inquiries into the theories on theatric movement of his theatric criticism and into the activity of theatric company for the abundance of discussion.
Yoo Chi-Jin was influenced by Remain Holland's 『The Theory on Popular Art』 and took the first step into theater. He carne to contact with the anarchistic theatric movement in Tokyo(東京) and adopt the method of popular theatric movement called 'Haengjang (Travelling Outfit) Theater(行裝劇場)'as his own theatrical ideal based on experiences at that time.
Yoo who returned to his country in 1931 took part in 'The Research Society of Theatrical Art(劇藝術硏究會 RSTA)'as one of its founding coteries. He unfolded the theory on theatric movement based upon 'the theory on popular theater' since his college days while involved in 'the modern theatric movement' called' The New Theater(新劇 NT)'.
He who went over to Japan in 1934 got the new directivity of the theatric movement along the line of' theatric professionalization'of 'Shin-Hyep Theatric Company(新協劇團 )' emerging since the collapse of the left-wing theater. He who came back in 1935 came to lead the activity of 'RSTA' to the way of professionalization. At this time, the core of Yoo's theory on theatric movement consisted in the very 'theory on professional theatric company' consisted of people who specialized in theater.
Yoo came to resume his theatrical activity with the founding of the 'Modern Theater(現代劇場)'in 1941. In addition to his theatrical activity, he also acted as the executives of 'The Chosun Theatric Association(朝鮮演劇協倉)' and 'The Chosun Literary People's Patriotism Meeting(勳鮮女人報鬪會)', which was the pro-Japanese cultural group. At this period of time, his theatric criticism did in no sense break away from 'the theory on national theater' jumping on the bandwagon of the theatrical control policy of Japanese imperialism.
Yoo Chi-Jin took charge of the position as the head of the 'Theatrical Art Institute(舞臺藝術院)'in 1948 shortly after Korean liberation from Japanese domination and became the leader of the South Korean theatrical world. At this time, Yoo's critic activity was a unfolded with an emphasis on proposals and criticism concerning the theatrical policy of the competent authority of the U.S. Military Government.
The characteristic which was consistently found In Yoo's theatrical criticism from the outset was to read the world by mean of purely theatrical cord from the non-political position and respond to it. For such the very reason, he had been engaged only in theater unyieldingly in his life in the modern history of Korea when political changes were extremely intense. But it would go without saying that his consistent compliant with changed political reality at the same time was attributed to his attitude toward such non-political life. Whenever he was confronted with serious crisis in his life, he was consistent in functional response to resolve the substantial problem of the theatric movement. It can be said that his theory on theatric movement has a limitation of not breaking away from such a functional framework.

목차 (Table of Contents)

• 목차
• 제1장 서론 = 1
• 1. 연구의 목적 = 1
• 2. 연구의 대상과 방법 = 11
• 제2장 유학 시기의 연극비평 = 17
• 1. 유학 시기의 연극 활동 = 17
• 2. 유학 시기의 연극비평 = 23
• 1) '민중예술로서의 연극'론 = 23
• 2) 행장극장론 = 26
• 제3장 1930년대 전반기의 연극비평 = 30
• 1. 1930년대 전반기의 연극 활동 = 30
• 1) 극예술연구회에서의 연극 활동 = 30
• 2) 재도일 시기의 연극 활동 = 36
• 2. 1930년대 전반기의 연극비평 = 41
• 1) '근대적 소극장 운동'에 대한 비판 = 42
• 2) 민중연극으로서의 신흥연극의 소개 = 46
• ① 산 신문극 = 47
• ② 노동자구락부극 = 49
• 3) '연극의 본질'로서의 '대중성' = 51
• 4) 연극 브나로드 운동의 제창 = 55
• 3. 재도일 시기의 연극 비평 = 60
• 1) 전환기 일본 신극에 대한 인식 = 60
• 2) 유치진의 방향전환 = 63
• 제4장 1930년대 후반기의 연극비평 = 67
• 1. 1930년대 후반기의 연극 활동 = 67
• 1) 극예술연구회에서의 연극 활동 = 67
• ① 이른바 '＜소＞사건'의 문제 = 68
• ② 극예술연구회에서의 활동 = 76
• 2) 극연좌에서의 연극 활동 = 87
• 2. 1930년대 후반의 연극비평 = 101
• 1) 일본 신극계의 '연극 전문화'의 수용 = 101
• 2) 전문극단론 = 105
• 3) 창작극 위주론과 번역극의 '관중본위론' = 113
• 4) 리얼리즘론과 로맨티시즘론 = 119
• 제5장 1940년대 전반기의 연극비평 = 129
• 1. 1940년대 전반기의 연극 활동 = 129
• 1) 문화기구에서의 활동 = 129
• 2) 현대극장에서의 연극 활동 = 141
• 2. 1940년대 전반기의 연극비평 = 146
• 제6장 1940년대 후반기의 연극비평 = 155
• 1. 1940년대 후반기의 연극 활동 = 155
• 2. 1940년대 후반기의 연극비평 = 162
• 1) 극장문제와 국립극장론 = 162
• ① 적산 극장의 반문화적 불하에 대한 비판 = 162
• ② 국립극장의 설립 = 166
• 2) 입장세법 개악에 대한 대응 = 172
• 3) '공연법' 제정을 둘러받 논란 = 176
• 제7장 결론 = 182
• 참고문헌 = 190
• ABSTRACT = 195