역사극의 탈역사화 경향: 역사의 유희와 일상사적 역사 쓰기 = The Dehistoricization Trend in Historical Plays: Play with History and Everyday Life History Writing

다국어 초록 (Multilingual Abstract)

In Korea, historical plays took an epoch-making turn from the previous historical plays in terms of approaches to topic and material and methods of rewriting history in the 1990s. Historical plays became dehistoricized with individual, everyday life, and faction emerging as major codes of historical plays according to mistrust in history and grand narrative as the original and disappearance of trust in the growth and totality of history. A new trend became dominant of presenting fictionality prominent instead of reproduction of history and freely playing with history outside the context. While modern historical plays were subject to the content of history, post-modern historical plays sought after new history writing to tell a new story on history within a framework of fiction. Focusing on some of the trends in post-modern historical plays since the 1990s, which include play with history, daily life-style history writing, and reproduction patterns of colonial modernity, this study examined the goals, representations, and text strategies of new history writing in three historical plays, Generation After Generation(2000) by Park Geunhyung, The Mercenaries(2000) by Park Sujin, and Chosun Detective Hong Yunshik(2007) by Sung Giwoong. In Generation After Generation, the author adopts a plot of starting with the present and tracing back to the past, breaking down the myth of racially homogeneous nation. At the same time, he discloses that the colonial history is not just by the oppressive force of Japan but also by the voluntary cooperation of Korean people. That is, we are also accountable for the colonial history of the nation. The Mercenaries contrasts the independence movement during the colonial period against the modern history developed after Liberation, thus highlighting the still continuing coloniality, namely post-colonial present. The past is presented as the “phantom of history” making its appearance according to the request of the present hoping for salvation. The author politicizes history and grants political wishes to history by summoning the history by personal memories such as fictional diaries and letters with Messiah-like images opposed to the present of collapse and catastrophe. In Chosun Detective Hong Yunshik, the author makes an attempt at the microscopic reproduction of daily life by approaching the 1930s as the modern period when capitalist daily life started to take root. The lists of signs comprising daily life in colonial Gyeongseong are divided between civilization and savagery and between modern and premodern. With the progress of narrative, however, they become mixed together and reversed in the representation system in which the latter overwhelms the former.

참고문헌 (Reference)

1 김성희, "한국 역사극의 기원과 정착-역사소설/야담과의 교섭과 담론적 성격을 중심으로" 한국드라마학회 (32) : 65-113, 2010

2 프로이트, "프로이트전집 13 무의식에 관하여" 열린책들 1997

3 김기봉, "포스트모던 시대의 역사로서 사극—사극을 위한 역사 이론" 문화사학회 5 : 197-222, 2002

4 최성철, "파국과 구원의 변증법 -발터 벤야민의 탈역사주의적 역사철학-" 한국서양사학회 79 (79): 55-86, 2003

5 김기봉, "조선형사 홍윤식: 식민지근대에 대한 ‘지식의 고고학적’ 문제제기" (가을호) : 208-214, 2007

6 성기웅, "조선형사 홍윤식" 2007

7 박수진, "용병"

8 안병직, "오늘의 역사학" 한겨레출판 2002

9 하르투니언, 해리, "역사의 요동" 휴머니스트 2006

10 루카치, "역사소설론" 거름 1987

11 양승국, "역사극의 가능성과 존재 형식에 대한 소고" 한국극예술학회 25 : 401-435, 2007

12 벤야민, 발터, "아케이드 프로젝트" 새물결 2005

13 김성희, "식민지근대의 일상과 연극적 재현, In 한국연극과 일상의 미학" 연극과인간 56-71, 2009

14 김구, "백범일지" 돌베개 2009

15 벤야민, "발터 벤야민 선집5 역사의 개념에 대하여/폭력비판을 위하여/초현실주의 외" 도서출판 길

16 박근형, "박근형 희곡집1" 연극과인간사 2007

17 송근호, "루카치의 역사소설론과 역사소설의 문제" 한국문학연구학회 11-33,

18 젠킨스, 키스, "누구를 위한 역사인가" 혜안 1999

19 고미숙, "나비와 전사" 휴머니스트 2006

20 김진균, "근대주체와 식민지 규율권력" 문화과학사 2003

21 김성희, "국립극단을 통해 본 한국 역사극의 지형도: 1950년부터 1979년까지의 시기를 중심으로" 한국드라마학회 (34) : 34-89, 2011

22 장신, "경찰제도의 확립과 식민지 국가권력의 일상 침투, In 일제의 식민지배와 일상생활" 혜안 555-584, 2004

23 전봉관, "경성기담 : 근대 조선을 뒤흔든 살인 사건과 스캔들" 살림출판사 2006

24 푸코, 미셸, "감시와 처벌" 나남출판 1999

25 이용기, "‘새로운 민중사’의 지향과 현주소" 역사문제연구소 14 (14): 5-30, 2010