셰익스피어의 한국수용(2) -1962년~1979년까지

신정옥 ( Jung Ok Shin ) 한국드라마학회 2006 드라마연구 Vol.- No.24

The decades of the 1960s and 70s form the second phase of Korean acceptance of Shakespeare and this paper attempts to survey the Shakespeare studies of this phase in the areas of literature and drama, and within universities. Shakespeare was first introduced as a heroic figure, philosopher, and statesman, but by this time, he recovered his true persona was approached as a literary figure, playwright, and dramatist. Korea during this period was emerging out of an upheaval resulting from the liberation from the Japanese occupation and Korean War. However, the seed of Shakespeare studies was germinated and energetically nurtured at this time. Shin-hyup produced Shakespeare`s tragedies and their effort no doubt facilitated the Shakespeare acceptance and the rebirth of theater movement. As the public gained better understanding of Shakespeare, Shakespeare scholars and publishers embarked on translating Shakespeare for further understanding. Jung-eum-sa in 1964 published the first complete translation of Shakespeare`s works in 4 volumes, a monumental feat in the Shakespeare studies in Korea. The Jung-eum-sa`s translation was participated by 19 scholars, including Choi Jung-woo, Han No-dan, Kim Kap-soon, Kim Joo-hyun, Oh Wha-sup, Lee Jong-soo, Yoh Suk-kee, and Lee Chang-bae. Whye-moon Publishing House, on the other hand, published Kim Jae-nam`s 5 volume translation of complete Shakespeare. In 1964, all of the Shakespeare`s works were translated. During the 1970s, Eul-yoo Books published the paperback editions of Shakespeare translation and his works were included in collections and anthologies. Then the younger generation got in the act of translation and they added a fresh perspective to the Shakespeare studies. Starting with Choi Jae-suh, Hamlet has been translated by 50 times, different people and remains to be the most frequently translated work It is followed by Romeo and Juliet, 39 times, Othello, 29 times, Macbeth, 27 times, and King Lear, 26 times. Among the comedies, The Merchant of Venice tops the list with 30 translations, different translations, then comes The Tempest, 12 times, A Midsummer Night`s Dream, 10 times and The Taming of the Shrew, 9 times. As shown in this statistics, tragedies predominate comedies. The decade of the 1970s saw the generational shift in research activities: the old generation gave way to the newly emerging generation of scholars and the Shakespeare studies rapidly flourished. What distinguished me modern drama was its emphasis on me vivid depiction of everyday reality and it gave birth to me little theater movement. In the Western world, the movement began at the end of the 18th century and in the beginning of the 19th century. In Korea, it began in 1920 when the Theater Art Association was formed, and during the 1950s me Theatre Libre and the Drama Production Association were organized. Then the college drama movement ensued. Soon, Won-gak-sa joined in the movement and scheduled dramas as part of its regular programs. The year 1962 is very important in the history of Korean theaters: the Drama Center, an all exclusive drama theater and the very first of its kind, opened its door. The opening of the Drama Center was the culmination of the Korean little theater movement and the fulfillment of Yoo Chi-jin`s life-long dreams. The opening production of the center was Hamlet. The play was produced and performed by Yoo Chi-jin, Lee Hae-rang, Kim Dong-won, Whang Jung-soon, and Jang Min-ho all living legends of the Korean theater and this production records as the first long-run performance in Korea. In 1964, the Korean theater had the Shakespeare quarter-centennial celebration, and six best known repertory theaters participated in the commemoration and 50,000 people came to see the performances. Shakespeare never had such attention before, and nor since. In addition to the professional theater groups, the student theaters have also made contribution to the spread of Shakespeare among the general public. As the cultural taste of the public got keener, the professional and student theater groups got better. Korea hasn`t had a Shakespeare drama group and there is not one yet. However, between 1970 and 1980 the London Shakespeare Group visited Korea four times and set an example for true professionalism and rendered a model process for the Shakespeare production. Domestic professional theater groups have also contributed to the development of the Shakespeare production and they included the Drama Center, Sil-hum Theater, Drama Troupe Ka-gyo, and Hyun-dae Theater. The student theater groups have also contributed to the development of Shakespeare`s dramas and their contribution should be attributed to the concerted efforts between professors and students. On the wave of the theatrical rebirth in the 1960s, the number of student dramas increased. During the second phase of Shakespeare`s rooting in Korea, student groups staged 85 productions while the professional groups performed 54 times. The quality of the student dramas may not be up to that of the professional groups, but the sheer number indicates the contribution the student dramas had made to the rebirth and solid establishment of the theater arts. In 1959 Joong-ang University established Drama and Film Department and soon after other universities followed suit, and since then, dramas have been studied within the university settings. Joong-ang University was in the forefront of Shakespeare productions and universities began to produce Shakespeare in English. These developments were professors` ways of teaching Shakespeare better. The History of English Dramas-the 70 Year Retrospective of English Drama Productions at Ewha University English Department(compiled by Kim Kap-soon) is the witness to the activities of the college theaters of the time. Student dramas are an integral part of the Korean theater and yet regrettably they cannot be fully covered here. Artistic expression is diverse. Dramas presuppose perform 이 논문은 1960년대와 1970년대에 셰익스피어의 한국수용과정을 수용 2기로 하여 문학적, 연극적, 학문적 분야로 나누어서 연구하는 것이다. 셰익스피어의 당초 수용은 위인으로, 경세가로, 철학자로 소개되기 시작하였으나 이미 그 계몽적 과정은 마감이 되었고 문학가로, 희곡작가로, 연극인으로서의 셰익스피어의 면모가 반영되는 발전적 단계에 돌입한 시대가 된 것이다. 그러나 일제시대 후반의 침체에서 벗어나고 해방을 맞이하고 6ㆍ25 한국전쟁의 대혼란을 맞이한 혼돈의 시대에 셰익스피어의 싹은 발아되고 정력적으로 육성되어 왔다. 그 무렵 신협의 셰익스피어 비극공연은 우리나라 셰익스피어 수용이나 연극부흥에 큰 공로로 인식될 것이다. 셰익스피어를 이해하는 인구가 증가함에 따라서 셰익스피어 학자나 출판사의 욕구는 작품의 번역출판에 대거 참여하게 되었다. 1964년에 정음사가 셰익스피어 전집 4권을 출간하였는데 셰익스피어의 전작품이 우리나라에 소개되는 기록이 되었고, 최정우, 한노단, 김갑순, 김주현, 오화섭, 이종수, 여석기, 이창배, 등 19명이 번역을 담당하였다. 그리고 휘문 출판사에서는 김재남 단독으로 번역하여 전집 5권이 출판되었다. 1964년은 우리나라에 셰익스피어의 전작품이 소개되는 한 해가 되었다. 1970년대는 문고본 시대로 접어들었으며 을유문고가 시작하였고 또한 선집이나 단행본으로도 출판이 계속되었다. 번역진도 중진 신진 그룹으로 신선미있게 교체되고 있었다. 최재서의〈햄릿〉을 포함해서 수용초부터 가장 많이 출판된 작품은 비극인 경우〈햄릿〉이 50회이고,〈로미오와 줄리엣〉이 39회이며,〈오셀로〉가 29회며,〈맥베스〉 27회,〈리어왕〉 26회였고, 희극인 경우〈베니스의 상인〉이 30회,〈태풍〉이 12회,〈한여름 밤의 꿈〉이 10회,〈말괄량이 길들이기〉 9회로 비극이 압도적이다. 셰익스피어의 번역진도 1970년대에 가서는 계속 세대교체가 되고 셰익스피어의 연구나 번역이 확대되었다. 근대극은 생생한 현실을 제시한다는 연극운동을 펼치며 소극장이 확산되었다. 서구에서는 18세기 말에서 19세기 초에, 우리나라는 1920년에 전개되었고 극예술협회가 시작이다. 1950년대에 떼아뜨르 리블, 제작극회 등 그리고 학생극으로 이어졌으며 원각사도 공연의 일부가 연극이었다. 1962년에 준공된 드라마센터는 진정한 소극장 운동의 결실이며 유치진의 평생소원인 연극전용극장이 탄생한 것이다. 우리나라 연극의 산 역사라 할 유치진, 이해랑, 김동원, 황정순, 장민호 등이 참여한 개관공연이 바로〈햄릿〉이었다. 이 공연은 우리나라에서 처음으로 최장기공연이 되었다. 1964년의 셰익스피어 탄생 400주 기념행사는 셰익스피어가 우리나라 연극사상 가장 각광을 받은 바가 되었다. 저명한 6개 직업극단이 참여하였으며 5만 여의 관객을 동원한 행사였다. 직업극단 외에 대학교의 셰익스피어 연극공연도 셰익스피어 수용의 보편화에 기여하였다. 국민문화의식의 향상에 힘입어 직업극단과 학생극의 공연도 발전적으로 향상하였다. 우리나라에는 셰익스피어의 작품만을 공연하는 전문직업극단이 없었고 지금도 없다. 그러나 1970년대에서 80년까지 런던 셰익스피어 그룹이 4회 내한 공연하여 전문극단의 전문성과 무대화 작업에 하나의 모델을 보여주었다. 국내의 직업극단들도 셰익스피어 극의 발전에 기여하였으니 드라마센터, 실험극장, 극단 가교, 현대극장 등을 꼽을 수가 있다. 셰익스피어의 연극발전에는 학생극의 공헌이 있다. 이는 지도교수와 학생간의 학문적, 예능적 교류의 성과다. 1960년대부터 연극중흥의 물결을 타고 대학극의 공연이 증가되었다. 셰익스피어의 한국수용 2기에 학생극 공연수가 85회니까 직업극단의 54회 보다 많으며 연극공연의 질에 차이가 있다고 하여도 연극중흥의 기반이 되는 것은 확실하다. 1959년 중앙대에 연극영화과가 설치된 것도 특기할 일이다. 대학에서 연극이 한 전공과목이 되었고 다른 대학에도 이 풍조가 파급이 되었다. 셰익스피어 공연은 중앙대가 단연 많았으며 셰익스피어의 원어 공연도 늘어났다. 이는 영문학과 교수들의 지도도 큰 몫을 했을 것이다. 『영어연극공연사-이대영문과 연극 70년을 돌아보며』(김갑순 엮음)의 기록은 그 사실을 입증한다. 학생극은 연극사의 주요한 부분이나 모든 대학의 실적을 기록하지 못했음은 서운한 일이다. 예술의 표현방식은 다양하다. 희곡은 공연을 전제로 한다. 공연무대는 종합예술이다. 그리고 관중이 있어야 한다. 희곡은 지금이나 100년 후나 동일성을 유지한다. 그러나 무대화되는 방식은 다양다종이다. 연극으로 가는 희곡의 수용도 다양하겠지만 가장 대표적인 것의 하나가 변용된 수용이다. 흔히 번안이라고 한다. 서구작가의 것은 찰스 마로윗츠의〈마로윗츠 햄릿〉이 있고, 외진이오네스꼬의〈막베뜨〉, 장 사르망의〈햄릿 다시 태어나다〉가 있다. 한국작가들의 것은 주로 민속화로 번안된 것이다.〈실수연발〉,〈오셀로〉,〈리어 왕〉,〈햄릿〉,〈십이야〉를 바탕으로 창작 또는 번안한 것이다. 최재서가 1963년에 발표한 『셰익스피어 예술론』은 우리나라의

셰익스피어의 한국수용(3) -1980년~1987년

신정옥 ( Jung Ok Shin ) 한국드라마학회 2007 드라마연구 Vol.- No.26

The decade of the 1980s was spent under the military dictatorship and the theatrical activities during this period were pretry much swayed by it as the sociocultural endeavors were overall suppressed. This oppressed social milieu is very well reflected, including the 1981 Hamlet production, in the dramas put on stage during this dictatorial regime. To highlight the human helplessness, Hamlet produced by Hyundai Repertoire Theater masked the utter despair of human emotions in madness while Kook-sub Kee`s satirical interpretation of Hamlet was an expression of disgust and a social-political protest against the absolute power. Nonetheless, as the country had become more and more advanced and open toward the outside world, Shakespeare, one of the greatest literary figures in history, found new willing audience in Korea. The BBC TV production of Shakespeare`s plays was shown on Korean TV and has contributed greatly to the better understanding of Shakespeare and raised the standard of the Korean audience`s appreciation of the great works of art. The 3rd Seoul World Theater Festival was participated by such great names in Shakespearean stage as Jan Kott. The translation work of Shakespeare was also very active and a wide range of people, including the college professors of English literature, tried and some of them produced truely quality work. One outstanding trend in the Shakespeare translation is the publication of one annotated version after another. The source, origin, mythology, locality, and ranks contained in the works of Shakespeare were probed into and introduced; therefore, the audience were able to learn something new about Shakespeare and his works every time they opened the newly published Shakespeare. However, it is regretable that a large portion of college professors` efforts were skewered toward tragedies; they had already been translated and in wide circulation and had been staged over and over again. The same is true with comedies. List some examples, among tragedies, Romeo and Juliet has 21 different translated versions, Hamlet 20 versions, and among comedies, the Merchant of Venice, 7 versions. The stage scene is about the same. The love-affair with Hamlet knew no bounds. The actors who had successfully portrayed Hamlet filled the roll call of Who`s Who in performing art. They include such names as Dong-won Kim, Bul-ahm Choi, Dong-hoon, Kim, Dong-whan Chung, and In-chon Ryu. Marowitz Hamlet produced by the repertoire theater, Mac-toe, Hyundai troupe`s Hamlet, Kook Suh Kee`s Hamlet 1-5 are some telling examples of lopsided nature of Shakespeare on the Korean stage. One towering figure who has left a true legacy regarding Shakespeare in Korea is Hae-rang Lee. He had directed Shakespeare ten times before the Shakespeare acceptance in Korea(3). His direction of King Lear in 1983 and Hamlet in 1985 and 1989 garnered the highest acclaim and are counted as best production in the annals of Shakespeare theater in Korea. The college theaters in the 1980s, on the other hand, showed the tendency to lean toward comedies and they were performed in English to challenge Shakespeare in its entirety and to set themselves apart from the professional groups. Yonsei University in 1980-87 staged Shakespeare 6 times while Jun-joo University, 5 times. The rivalry over Shakespeare production between Yonsei and Koryo Universities was quite a spectacle. During this third of phase of Shakespeare acceptance, professional theaters produced Shakespeare 59 times whereas college theater groups, 53 times, which means that colleges were conducive to the Shakespeare boom on the Korean stage. Compared to the college theaters, professional groups` contribution to the boom was meagre. What is outstanding during this period in the professional sphere is the active theatrical exchange with England and Japan. Particularly, As You Like It, Taming of the Shrew, and Othello were critically acclaimed. In addition, four adaptations by the Western dramatists were staged and of which Westside Story, a musical shaped in a composite art form, was received with great enthusiasm by the public. Scholastic effort, in its tum, has laid a solid foundation and turned visible results. The understanding of Shakespeare has been elevated and the research activities and papers in the universities and colleges were on the rise. During this period, 153 master`s theses and 13 doctorate dissertations were written, and 372 papers by scholars or college professors were presented at various forums and seminars organized by colleges or academic associations. What all these activities indicate is that the Shakespeare study has been broadened and diversified and at the same time the quality of study has been raised as well. 1980년대의 정치상황은 군사독제체제였으며, 사회적 문화적 억압감으로 연극은 크게 영향을 받았다. 이러한 현상은 1981년에 공연된〈햄릿〉 등 몇 작품에 나타나 있다. 극단 현대극장의〈햄릿〉은 인간감정의 처절상이 광기의 가면 속에 나타났고, 기국서의〈햄릿〉은 절대권력 구조에 대한 혐오를 풍자형태로 묘출하는 반정치적, 반사회적 저항이었다. 그러나 선진국화와 서양문명의 개화로, 고전적인 대문호 셰익스피어의 수용이 나날이 증폭되여 왔다. 영국의 BBC TV에서 제작한 셰익스피어 작품의 방영은 수준 높은 작품성과 셰익스피어 작품에 대한 이해와 감동으로 크게 기여하였고, 서울 제3세계연극제에 셰익스피어 연극계의 중진, 얀 코트(Jan Katt) 등, 세계연극인들의 내한과 공연이 있었다. 셰익스피어 작품번역의 물꼬도 크게 넓혀졌다. 영문학의 교수들이 셰익스피어 번역에 동참하였고 우수한 번역서들이 출판되었다. 번역서의 경향의 하나가 주석본의 계속적인 출간이며, 셰익스피어의 작품에 내재하는 기원, 신화, 지명, 직위 등 우리와 생소한 내용들이 허다한데, 셰익스피어의 진정한 이해에 도움이 된다. 그러나 아쉬운 점은 많은 교수들의 번역 대상은 이미 우리나라에서 번역되고, 공연되는 작품들, 주로 비극의 선택에 치우쳤다는 것이다. 희극의 경우도 마찬가지다. 예시하면〈로미오와 줄리엣〉이 21회,〈햄릿〉이 20회, 희극에서는〈베니스의 상인〉이 7회이다. 공연에 있어서도 같은 처지이다. 우선〈햄릿〉의 러쉬는 한결같다.〈햄릿〉 공연을 성공적으로 한 배우들은 우리나라의 명배우들이다. 김동원, 최불암, 김동훈, 정동환, 유인촌 등이다. 극단 맥토의〈마로윗츠 햄릿〉, 현대극장의〈햄릿〉 기국서의〈햄릿1~5〉는 대표선수감이다. 셰익스피어 공연에 잊지 못할 연극인은 이해랑이다. 그는 셰익스피어의 한국이입 3 기전에 셰익스피어의 작품을 10회 연출하였다. 83년에〈리어 왕〉과 85년과 89년에〈햄릿〉을 연출하여 최고의 극찬을 받은 바 있다. 1980년대의 대학극 공연은 희극의 공연이 활발해졌으며 대학다운 특징으로 원어극이 성행하였다. 연대와 전주대가 6, 5회의 공연을 하였다. 연고대가 두 번째로 맞대결하는 연극공연은 흥밋거리였다. 그리고 셰익스피어의 수용 3기에 직업극단의 셰익스피어 공연이 59회였는데, 대학극이 53회라는 것은 대학 공연이 셰익스피어 붐 조성에 공이 크다고 할 것이다. 이에 비하여 직업극단은 자랑할 만한 실적이 아니다. 다만 영ㆍ일 과의 연극교류는 기록할 만한 일이고,〈뜻대로 하세요〉,〈말괄량이 길들이기〉,〈오셀로〉 등의 공연은 비교적 좋은 평을 받았다. 그리고 서구작가들의 변용극 공연에 네 가지가 있었으며, 그중에도 West Side Story의 종합예술화된 Musical 공연은 크게 인기몰이가 되었다. 학문적 수용은 커다란 발전의 기반을 닦았다. 셰익스피어에 대한 인식이 고양되었고 대학들의 연구와 논문발표는 증가기세이다. 셰익스피어 수용 3기에 석사논문 153편, 박사논문이 13편이고 각 대학이나 학회를 포함하여 교수나 학자들이 발표한 논문이 372편이라는 사실에서 논문의 주제가 다양해졌고 학 술수준이 향상된 것을 나타낸다.

양파 압화와 무기발광시트를 이용한 광 매체 압화 조형물 제작

신정옥 ( Jung Ok Shin ),김태연 ( Tae Yeon Kim ),조문수 ( Moon Soo Cho ) 한국화예디자인학회 2007 한국화예디자인학 연구 Vol.16 No.-

This study describes the method to deign and fabricate lighting pressed flower statue(LPFS) applicable to the indoor and outdoor interior, which use both of onion pressed flower and Electro-Luminescence(EL) sheet. The major contents of the study are 1) the method of dyeing of onion and making a onion pressed flower, 2) the practical application of the onion pressed flower to fabrication of various pressed flower statue utilizing EL sheet, such as a flat type, a cylinder type, and a curved type, etc. The onion has natural characteristics as follows, in the point of pressed flower material, 1) easiness of acquiring compared to other flowers, 2) beautiful and detailed inner structure that allows various art design and implementation when it is dyed with natural dye materials. The lighting source of EL sheet is consuming low power but illuminating bright light, so as to be proper not to affect the life of the flower color, which is a characteristic property of the EL sheet as a state-of-art material for pressed flower statue using light. Combining the natural characteristics of a onion and a EL sheet, the transparent light through the onion inner structure gives a beautiful and mysterious atmosphere, hence a high valued pressed flower statue using light is available. The implemented statues of onion pressed flower with light are used as a light decoration or a pressed flower decoration. In this study, we fabricated various types of statue shaped of flat panel, cylinder, and curved type, and investigated the value of the statue as a inner decoration and interiors.

환경 친화적 압화 조형물을 활용한 인테리어디자인 제작사례 연구

신정옥(Shin Jung-Ok),이진호(Jinho Lee) 한국디자인학회 2018 한국디자인학회 학술발표대회 논문집 Vol.2018 No.11

선천성 자궁기형 여성의 산과적 문제점에 관한 연구

이해혁(Hae Hyeog Lee),이정재(Jeong Jae Lee),남계현(Kae Hyun Nam),이임순(Im Soon Lee),이권해(Kwon Hae Lee),이효환(Hyo Hwan Lee),이석민(Seok Min Lee),정갑인(Kab In Jung),정한우(Han Woo Jung),신정옥(Jeong Ok Shin),구도형(Do Hyoung Koo) 대한산부인과학회 1999 Obstetrics & Gynecology Science Vol.42 No.2

N/A Objective: To evaluate the frequency and obstetric consequences of women with uterine anomalies and correlation between obstetric consequence and congenital uterine anomalies. Materials and Methods: A retrospective study was made on 65 patients with uterine anomalies in order to evaluate the obstetric consequence at department of obstetrics and gynecology, Soonchunhyang University Hospital from January 1994 to June 1997. The diagnosis of uterine anomalies was made with hysterosalpingogram or ultrasonogram, or at the time of cesarean section. The uterine anomalies were classified according to the classification of Buttram and Gibbons and compared the pregnancy outcome for each classification. The obstetric consequences were divided into preterm delivery, premature rupture of membranes, intrauterine growth restriction, and abnormal presentation of fetus. Statistical analysis was carried out using chi-square test, the significance was defined as P < 0.05. Results: 1. The incidence of uterine anomalies accounted for 1.04% (65/6,250 deliveries). 2. The most common uterine anomalies were class III (Uterine didelphys, 47.7%). 3. We noted preterm birth rate (16.9%), premature rupture of membranes rate (20%), intrauterine growth restriction rate (9.2%) in 65 patients. 4. The rate of breech presentation was 41.5% and the mean birth weight was 2,747 gram. 5. When uterine anormalies were present, the incidence of obstetric consequences was significantly increased. Conclusion: We concluded that congenital uterine anomalies were closely related to obstetric consequences, such as preterm, breech presentation, intrauterine growth retardation.

자궁 경부암에서 c - erbB - 2 의 발현과 S - 100 양성 수지상세포의 분포에 관한 연구

김대중,최승도,배동한,신정옥,선우재근 대한부인종양 콜포스코피학회 2000 Journal of Gynecologic Oncology Vol.11 No.4

Objective: The aim of this study was to assess the relationship between disease progression and expression of c-erbB-2 and S-100 protein positive dendritic cells in Cervical cancer. Study design: Tissues were analyzed from 100 patients. Each of them had invasive carcinoma(44), microinvasive(12), CIS(33), CIN(II) before treatment, c-erbB-2 oncoprotein expression and S-100 protein positive dendritic cell were confirmed by immunohistochemical staining. (Avidin-biotin complex method) Results: C-erbB-2 immunostaining was significantly associated with disease progression (p$lt;0.05). In case of CIN I, there was not noted stained specimen but in case of invasive carcinoma, 24 cases of stained specimen were noted. S-100 protein positive dendritic cell was not associated with disease progression of cervical carcinoma.(p$gt;0.05) Conclusions: According to our results, c-erbB-2 is possible factor in Carcinogenesis of cervical carcinoma with progression of it. and S-100 protein positive dendritic cell was not associated with disease progression of cervical carcinoma.

VBP 복합항암요법에서 Carboplatin과 Cisplatin의 독성발현 빈도의 비교 연구

김판영,배동한,서희승,신정옥,장경택 대한부인종양 콜포스코피학회 1996 Journal of Gynecologic Oncology Vol.7 No.3

Cisplatin has been widely used as chemotherapeutic agent for the treatment of cervical cancer, ovarian cancer, head and neck cancer and squamous cell carcinoma of lung. But cisplatin is highly toxic with nephrotoxicity, gastrointestinal toxicity, myelosuppression and neurotoxicity. The second generation drug of platinum compound, carboplatin was developed in 1980s to reduce side effects. Carboplatin has low nephrotoxicity but its major toxic effect is thrombocytopenia, In this study, the side effects of cisplatin and carboplatin were evaluated on 37 patients of cervical cancer in 169 chemotherpy cycles who were recieved combined VBP chemotherpeutic regimen consisting of cisplatin or carboplatin. Nephrotoxicity of grade 2 or over were 16% in cisplatin group and 1% in carboplatin group. Granulocytopenia of grade 2 or over were 34% in cisplatin group and 10% in carboplatin group. Thrombocytopenia of grade 2 or over were 7% in cisplatin group and 21% in carboplatin group. Gastrointestinal toxicity of grade 2 or over were 11% in cisplatin group and 0% in carboplatin group. This clinical study demonstrated that cisplatin has more toxic effects than carboplatin except thrombocytopenia.