채만식의 농민극 연구

백현미(Hyun Mi Back) 한국연극학회 1994 한국연극학 Vol.6 No.1

N/A

근대계몽기 한국연극사의 전통담론 연구

백현미(Back Hyun-mi) 한국근대문학회 2008 한국근대문학연구 Vol.9 No.2

본 연구에서는 근대계몽기 한국연극사 전통담론의 배경으로 일본과 중국의 연극담론과 영웅론, 그리고 한국에서의 극장 제도 도입을 주목해 살폈다. 1880년대 중후반 일본 메이지 정부 주도로 연극개량회가 발족했고, 자유민권운동의 와중에서 다양한 공연이 개발되었으며, 1900년 무렵에는 카와카미 오토지로를 중심으로 한 신연극이 공연되었다. 또한 생산역군으로서의 무명 영웅을 강조했던 도쿠토미 소호의 영웅론은 1895년 청일전쟁을 기점으로 군국주의적 색채를 띠게 되었다. 한편 1898년부터 일본에 망명 중이던 중국의 량치차오는 소설계/희극계 혁명론을 펼치고 스스로 중국 전통극인 전기 형식의 작품을 창작했다. 또한 유명 영웅이 중국 인민을 ‘무명의 영웅’으로 빚어내야 한다는 영웅론을 펼쳤다. 량치차오의 글은 한국어로 번역 출판되어 개화기 한국 지식인에게 영향을 주었다. 서구문화를 직접 체험한 정부 관리들이 쓴 기행문을 통해, 한국에도 서양극장 및 극장문화가 소개되었다. 1894년 유길준은〈서유견문〉을 출판했고, 민영환은 1896년〈해천추범〉을 내었다. 이 글들에서 유럽의 실내극장은 한국에는 없는 문명한 나라의 제도로서 그리고 국내외 인사들이 모이는 사교장으로서 강조되었다. 그리고 1902년 마침내 조선 경성에 협률사 극장이 문을 열었다. This paper examines the tradition discourses in Korean modern drama of the late 19th and the early 20th. It focuses particularly on how key intellectuals differentiated the definition and interpreted 'Theater-Improvement' while they insisted on improving traditional performance. There were three factors to influence the tradition discourses. First, before Korea was colonized by Japan, many concepts proposed by Japan and the Occident were imported. Specially 'Theater Improvement Movement' and 'New Theater' in Japan were introduced by the Japanese and Korean pro-Japanese intellectual. Second, 'The Revolutionary Literary Theories' of the Chinese Ling Qi-Chao(양계초) was introduced to Korea, immediately after his books were translated in Korea. Third, Korean officers, Yoo, Gil-Jun(유길준) and Min, Young-Whuan(민영환), had chances to experience western culture and insisted on accepting western culture such as theater. Including Hyuplulsa(협률사) built in 1902, there were several theaters where traditional performance and revised traditional performance were showed after 1905.

최인훈 희곡 〈둥둥 낙랑둥〉의 감성 연구

백현미(Back Hyun-mi) 국어국문학회 2011 국어국문학 Vol.- No.157

The aim of the paper is to analyze the emotions of Choe, In-hoon's Drama 〈Doong-doong Nak-rang-dong〉. I divide emotions into three categories, primary emotion(or affect), social emotion, and quasi-emotion based on newly cognitivism- emotion-theory research. In this paper, I try to show how the super-stimuli, plot, characterization, and role-playing of 〈Doong-doong Nak-rang-dong〉 elicit these emotions. In the play 〈Doong-doong Nak-rang-dong〉, instrumental(trumpet, drum) sounds from off-stage, progenitor's mask and swords on on-stage, and the grotesque mise-en-scene are super-stimuli to elicit affect such as thrill and creepiness. The plot of the play unfolds in a very rapid change from happiness to unhappiness, and protagonists(Hodong and Queen) feel various emotions over an anxious pride and a noble frustration. There are two types of characterization: emotional(humane) characters and unemotional characters. The emotional characters express their feeling contrasting keen laughs with sympathetic crying. The unemotional characters elicit the sensation of fear for political authority. A role-playing in the play becomes an emotion-playing. Hodong and Queen feel quasi-emotion through the role-playing, suffer from conflicts between the quasi-emotion and their real-emotion. Finally they are overwhelmed by quasi-emotion.

송만갑과 창극

백현미 ( Hyun Mi Back ) 판소리학회 2002 판소리연구 Vol.13 No.-

“국민적 오락”과 “민족적 특수성” : 일제 말기 악극의 경우

백현미 ( Hyun Mi Back ) 한국공연문화학회 (구,한국고전희곡학회) 2005 공연문화연구 Vol.11 No.-

가부장제 신화의 구축과 해체 : 조광화의「가마」 와「남자충동」을 중심으로

백현미 한국연극학회 1999 한국연극학 Vol.12 No.1

In this thesis, I tried to analyze the aspects that construct and de-construct patriarchy myth in two plays, 「Panlanquin(가마)」, and 「Men's Impulse(남자충동)」, of a playwriter, Cho Koang Hwoa, being based on mythology of Roland Barthes. Patriarchy myths is constructed as typical situations in 「Palanquin」, and 「Men's Impulse」. In these plays, names of important characters, for examples, Jangjeng, Dalrae, Mr. Yee and Mrs Park, are shown in common. These names are selected to stress roles of gender in patriarchy. 'Palanquin' in 「Palanquin」 and 'God Father' in 「Men's Impulse」 are metaphors of patriarchy myth that is based on hierarchy of men and domination of men over women. In these plays, patriarchy is stressed as not only family system but also whole society system, figuring a family organization as a military or a gangster organization. In these two plays, the desires of incest and consanguineous killing are important dramatic actions that are chosen to reveal the originality of patriarchy and also to de-construct the originality. A mother Dalrae was attaching to her son Jangjeng in 「Panlanquin」, because she can get power only through her son in patriarchy. A brother Jangjeng has a tender passion to his sister Dalrae in 「Men's Impulse」, and he pursues union of his family violently to continue his passion. These attachment and passion are desires of incest that are caused by patriarchy. On the other hand, Jangjeng kills his mother Dalrae in 「Panlanquin」, because he hopes to get men's power in patriarchy. And Dalrae kills her brother Jangjeng in 「Men's Impulse」, imitating violence that Jangjeng used. These desires of incest and consanguineous killing are desires of nature oppressed by patriarchy and also desires that are operating in patriarchy. Appearance of 'others' in patriarchy is a representative aspect of de-construction. Mrs Park who followed a criterion of patriarchy obediently gets out of her house to seek her life for herself. Two men transgress against masculinity in patriarchy, as homosexualists. These plays throw questions how family and patriarchy may be, through these appearances of 'others'. To make question among spectators, 「Panlanquin」and「Men's Impulse」 resist realistic composition that is oppressed and closed. Even though these plays proceed with the lapse of time, there are many devices that give rise to critical estimation among spectators. Those are 'gestus' and 'cruelty'.

1950 , 60 년대 한국연극사의 전통 담론 연구

백현미 한국연극학회 2000 한국연극학 Vol.14 No.1

This study examined tradition discourses brought in Korean modern drama history during 1950 and 1960's. The subject of this area has never been studied seriously even though that is very important. Through this thesis, I stressed the concrete contents of tradition discourse and the connection between nationalism of tradition discourse and Korean modernity. Korean society was westernized during 1950 and 1960's. The tradition discourses were suggested as an alternative discourse against westemization, and were often connected with nationalism in postcolonized country, Korea. There are four subjects of tradition discourse in Korean modern drama during 1950 and 1960's, namely folklorists, government, the intellectuals including university students, and professional theatrical people. The folklorists studied the mask plays from the viewpoint of the way of historical folklore. The government used the tradition to justify its orthodox. The intellectuals used the tradition to criticize the orthodox of government, and the professional theatrical people like Eu, Chi Jin discussed tradition to discover the way to show the distinction of Korean drama. Mask play was the important objects of tradition discourses in this period. Pansori and Mudang-Gut play weren't considered as drama in this period, contrary that Pansori was considered as a drama before this period and Mudang-Gut play was considered as a drama after this period. The Korean classical scholars and folklorists focused on studying the Korean traditional mask play. And Eu, Chi Jin also referred to the mask play when he discussed the way to uphold the tradition. The way to recognize the tradition in this period was focused on 'the restoration and maintenance.' The folklorists tried to discover the tradition culture through a field trip and documentary research. The most important standard of screening in 'the national folk art recital contest' was whether the original form of folk art was maintained or not. And the endeavor to relive the characters of Pansori in Changguk was also to restore the original form.