解放 前 韓國 演劇 演出의 發展 樣相 硏究 = (A)study on the development of modern direction styles of Korean theatre before the 1945 liberation of Korea

다국어 초록 (Multilingual Abstract)

This study aims to examine the development of modern direction styles of Korean theatre from the early decade of the 1900’s to the 1945 Liberation from the Japanese colonial rule. The 1900's, characteristic of Enlightenment movement and Japanese colonization, go on to the 1945 Liberation of Korea with specific needs of theatrical direction for each decade between. For each decade examination was made to analyze its trend and show the features of the period.
The earliest decade of the 1900’s sought how to represent realistic illusion, which required the appearance of director. It also found the western indoor playhouses built, which forced the Korean traditional outdoor theatre to undergo great changes. As a result there appeared a ‘variety show’ with a range of amusements, and ‘Chang-keuk,’ a Korean classical musical. Especially <Eun-se-gye, a Silver World> as a new theatrical form cut a fine figure acting up to the demands for the new theatrical practices. The theatre was adapted for the stage from the namesake novel and performed with acknowledgement of the necessity to visualize realistic illusions using audio-visual theatrical tools and different style of action from the previous days. But the theatre was not successful with its abrupt presentation. It required the appearance of the expert to direct action appropriately to the new contents of the new theatrical form with using technical tools for realistic illusions.
The expert arrived in the person of theatre manager of ‘Shimpa’ troupes in the 1910's. ‘Shimpa’ was a new theatrical form introduced from Japan under its colonial rule. It deprived ‘Chang-keuk’ of the opportunity to adjust its form and contents to the indoor theatre. Korean ‘Shimpa’ was launched in 1911 by Lim, Sung Koo, the head of the Hyukshin troupe. This troupe was motivated by commercial profit, so that its repertory was chosen for the public taste to ensure financial success. Lim himself directed and supervised the rehearsals. But the performance mainly depended on the actors' improvisation because Korean ‘Shimpa’ drama had not yet written scripts.
Those days casting was taken charge of by the head of the theatre. He used to inform actors of the story, and tell them the significant lines and movements of each part. He sometimes employed some directorial devices to keep the audience's attention. For example, first, monologues by the leading performer and fighting scenes with exciting acrobatic skills were used in order to draw the audience’s attention. Second, lacking in scripts and rehearsals, the actor’s voice and movements had to be exaggerated, which led to intentional overacting. Third, much attention was paid to the scenery to create stage illusion. A backdrop was used in the early ‘Shimpa,’ and later by setting up the walls at the back of the stage and painting the inside and outside of a house a more realistic illusion of space could be facilitated.
The 1920's witnessed the appearance of a head of direction and considered theatre a comprehensive art. Those days theatre company consisted of many different departments to treat direction, literature (or script), scenery, and music, and among them the department of direction managed various disciplines supervising the whole production. They could be called ‘Directors.’ Park, Seung Hee of Towolhoe, The Drama Club, and Yeon, Hak Nyun of Jonghapyesulhyophoe, Total Art Association, are two fine examples of directors of that time.
They were different from the ‘Shimpa’ leaders in that they held the script in high regard, and made actors memorize or ‘learn’ their lines. The learning of lines put great importance on actor’s individual practices, which led to naturally-looking action via the text without improvisational overacting of the ‘Shimpa.’ In terms of scenery, they created stage illusion through realistic scenery and props. But this kind of sets used a flat backdrop, and consequently revealed a two-dimensional arrangement and movement of the actors.
In the 1930's, Hong, Hae Sung, another professional director, appeared with Keukyesulyonguhoe, The Drama Academy. He had previously been an actor for the Tsukiji Little Theatre, the model of Japanese modern theatre, and was much influenced by Osanai Kaoru. Hong attempted ‘realistic directing’ by adopting main repertory of the Tsukiji including Checkhov and Ibsen. With emphasis on script analysis, he required his actors to study their roles, and told them to act their inner motives. To facilitate this process he extended rehearsal terms to about a month and divided it into two phases. The first was for script analysis and the other the actor’s staging. Hong wrote Stage Art and the Actor, which includes his ideas of a realistic acting style. He emphasized the importance of thorough analysis of the script and staging, and the director's role as an acting coach.
Reflecting the influence of Osanai Kaoru, Hong predetermined each actor’s place and wrote them down in his script to help rehearse the actors. (This notation is known as ‘blocking.’) This had become the usual rehearsal method for Korean directors until the 1960’s. However, the predetermined places confined actors' movement with the result that they acted formalized actions rather than their inner motives. This led to a formalization of acting.
This formalized acting style produced two-dimensional acting against Hong’s staging device of three-sided walls, which he intended to set up, keeping ‘the fourth wall’ in his mind. Since the actors acted in a full-front place in front of the walls, his stage stayed two-dimensional just like a backdrop. In addition, though he paid attention to the historical accuracy of the set, even of small items, he restricted the actors’ movements and places to two-dimensional space, with ignoring the theatrical conditions to arrange a long table and chairs in the center, along with the back wall. Such arrangements did not fit to perform the repertories of the Tsukiji Little Theatre. Consequently, the actors’ placement and movement looked so unnatural and artificial that they contradicted his concept of ensemble work and inner-motived interaction among them after all.
Ryu, Chi Jin, another director of The Drama Academy, started writing and directing uniquely Korean plays with his frustration at the crudity of translated plays. He emphasized the importance of winning the audience’s sympathy with ‘Realism’ of the theatre. He chose the satirical and historical plays as Realist repertory, for they had another purpose to avoid the Japanese censorship. After all a theatrical style known as ‘Romanticism based on Realism’ was his invention with various directorial devices to enhance the ‘Romanticism’ of the play.
He often put songs and dances into the plays with the musical and visual effects. Moreover, Ryu chose a large theatre to gather a greater audience. This inevitably led to the use of a full-sized stage and the need for the actors to overemphasize their voice and movements. If the actors did not shout out to the noisy audience in the large auditorium, or exaggerate their movements as much as they could, they would not be able to draw the audience’s attention.
His ‘Romanticism based on Realism’ was original in that he emphasized a romanticism carrying the Korean sentiment. But he failed to create a directing style which could highlight the romantic elements and at the same time involve the larger theatre. He had only to raise the sound and exaggerate the movement. Therefore we can say he did not conform those physical stage elements to his idea of ‘Realism and Romanticism.’
From 1940 until the 1945 Liberation, as the Japanese fascism went to the extreme, ‘National Theatre’ had been enforced in order to propagandize ‘The Japanese Great East-Asian Co-Prosperity Project.’ This coercive policy in effect ‘censored’ Korean directors, who turned instead to the external, physical elements of the stage. For the purpose of avoiding censorship they focused on historical accuracy and external elements and produced lots of historical plays with no substantial views. As they couldn’t develop their own directing method any more, they mixed directing method of modern theatre with that of popular theatre. As a result, the acting was exaggerated with a flood of sentimental melodramas. The scenery became splendid and spectacular, which gave the chance of technical advances in stage craft, but the actor, as the ‘hero’ of a historical play, had to deliver banal speeches, which led the audience to a meager satisfaction.
To conclude, the achievement of the modern Korean direction can be evaluated as follows:
First, under the Japanese colonial rule, the development of modern direction of the stage was delayed to block the directors’ free creative activity with an identity crisis. It was difficult for the directors to seek their own directing method.
Second, modern Korean direction was accompanied by the theatrical practices of “Romanticism,” so that it overwhelmed “Realism.” Actually they had to watch the contradiction between realistic directing style and romantic theatrical practices.
Third, the modern directors sought Realism which required a more interaction between the actors on stage, but they had to maintain romantic theatrical practices of an intimate communication with the audience. The main reason is that they wanted to offer to the audience the opportunity to use the theatre as an outlet of their repressed sentiment under the Japanese colonial rule.

목차 (Table of Contents)

• 목차
• Ⅰ. 서론 = 1
• 1. 연구 목적 = 1
• 2. 연구 범위와 방법 = 4
• Ⅱ. 연출 기능의 형성 = 9
• 1. 개화기 신연극의 도입과 연출 기능의 태동 = 9
• 가. 창극 연기의 변화 = 10
• 나. 사실적 환영의 추구 = 18
• 2. 1910년대 신파극 단장의 연출로서의 역할 확대 = 22
• 가. 레퍼터리의 확보와 구찌다데식(口立式) 관습 = 23
• (1) 레퍼터리의 확보와 변용 = 23
• (2) 구찌다데식 연습 체계 = 26
• 나. 과장된 연기의 활용 = 31
• (1) 관객의 집중 유도를 위한 과장 = 31
• (2) 인물의 감정 묘사를 위한 과장 = 37
• 다. 벽을 세우는 장치 사용 = 45
• 라. 단장에서 무대감독으로의 기능 변화 = 53
• Ⅲ. 전문 연출가의 등장과 연출 방법의 발전 = 57
• 1. 1920년대 연출부장의 출현과 서구 근대극 연출 방법의 모색 = 57
• 가. 근대극 레퍼터리 선정과 대사의 암기 요구 = 60
• (1) 근대극 레퍼터리 선정 = 60
• (2) 대사의 암기와 개별 연습의 강조 = 66
• 나. 과장된 연기의 탈피 = 72
• (1) 자연스러운 연기의 추구 = 72
• (2) 2차원적 인물 배치와 연기 관행 = 74
• 다. 배경화를 통한 사실적 환영의 추구 = 78
• (1) 색조명의 활용과 장치와의 조화 시도 = 78
• (2) 사실적 배경화에의 몰두 = 84
• 2. 1930년대 전문 연출가의 출현과 사실주의 연출 방법의 정립 = 89
• 가. 지향 관객에 따른 연출관의 정립 = 92
• (1) 지식 계층 관객 지향 = 92
• (2) 일반 대중 관객 지향 = 97
• (3) 노동자 농민 관객 지향 = 104
• 나. 사실주의 극 레퍼터리의 선정과 희곡의 해석 = 106
• (1) 사실주의 희곡의 선정 = 106
• (2) 연출가의 희곡 해석의 중요성 부각 = 111
• 다. 사실주의 연기 방법론의 모색 = 117
• (1) 연습 체계의 확립과 연출 대본에 따른 연습 = 117
• (2) 사실주의 연기의 추구 = 130
• 라. 사실적 장치의 강화 = 163
• (1) 3면벽의 설치 = 163
• (2) 건축학적 무대 지향 = 172
• (3) 무대 기술의 발전 = 180
• 3. 1940년대 국민연극의 사실주의 연출의 외형적 발전 = 187
• 가. 국민연극에로의 레퍼터리 일원화 = 190
• (1) 국민연극 레퍼터리의 선정 = 190
• (2) 대중적 요소의 증대 = 194
• 나. 사실주의 연기와 감상적 연기의 결합 = 198
• (1) 감상적 연기의 확대 = 198
• (2) 사실주의 연기와 감상적 연기의 혼합 양상 = 203
• 다. 무대 시각화의 강조 = 206
• Ⅳ. 해방 전 한국 연극 연출의 발전 양상의 의의와 한계 = 213
• 1. 일본 식민 통치하 연출가의 정체성 혼란 = 213
• 2. 사실주의 연출과 낭만주의 무대 관행의 혼재 = 218
• 3. 무대와 관객의 상호 밀접성 = 225
• Ⅴ. 결론 = 234
• 참고문헌 = 242
• Abstract = 251