1960년대 동인제 극단의 연극 대중화 양상 = A Study on Popularization of the Plays of Donginje-Geukdan in 1960s

다국어 초록 (Multilingual Abstract)

Activities of Donginje-Geukdan in the Korean theatrical world in 1960s have a very important value. Because the characteristics of their activities had a big impact on the Korean theatrical world changing the whole Korean theatrical world, and it became a direct starting point of forming the modern Korean play.
1960s is a period of dramatic social changes. These changes incurred from a dictatorial of military government and a radical industrialization. Social changes also changed a value of culture and art. Popularization of the mass media gradually threatened art. According to Walter Benjamin, so-called 'the sign of the age of mechanical reproduction' was beginning to appear. Afterwards, a play tried to secure its territory by 'competing with newer instruments of publication' and 'debating with newer instruments of publication'. These efforts were found in Donginje-Geukdan's activities in 1960s. This was the point where popularization effort of a play began.
The theatric world showed gradual stagnation in that period. Existing theatric world lost its audience who wanted new things since it was in a mannerism and could not satisfy the needs of audience. Donginje-Geukdan in 1950s that were consisted by rising theater play people lost their audiences as well since their performances were in an amateur level and no improvement was there. There was an immediate need for audiences in the early 60s depressed theatric world. Audience gathering problem was an urgent problem for the whole theatric world that even the performance organizations with play experiment purpose had to project a separate performance to gather audiences.
In those situations, Geukdan Sanha and Minjung-geukjangwere the first ones to raise this problem of audience. Geukdan Sanha tried to expand their audience to the public under the standard of 'popularization of theater play'by young theater players who were active in 1950s. They, of course, did not use any methods like general public plays since it was an organization that projected and performed plays for intellectuals and as an art. Instead, they gathered audiences by performing creative plays that dealt with problems of modern society based on realism theater form. However, the solution for the problem that they had was to gather intellectuals as an audience as well as to expand the audience group to the general public. That waswhy there was an increase in popular contents in creative comedy, conflicts and relationships between people in a play stimulated interest, and expressing of contents that were far from the actual situation of that time using authors' conservative world view coming to a limit turning all the plays into melodramas. That limit was generated by showing 'competing with newer instruments of publication' as Benjamin said and forming the same audience group with mass media at the same time.
In the mean time, Minjung-geukjang was formed by new theater players in 1960s. Especially, they had some performers who studied abroad. Their purpose was not an experimental plays even though there accepted western modern plays in that era. They usually performed comedies making a play as a new material that audiences naturally can laugh and enjoy the performance. Play became a cultural product, and people went to see plays to experience different kind of enjoyment from the mass media gave to them. Since they were trying to make a play for a number of audiences with various characters, situation recognition was weaker, techniques of modern play were changed into the factors that stimulated interest of audiences, and the linguistic expressions or story contents were also getting lighter. After all, it formed different audience group to mass media of 'debate with newer instruments of publication' that Benjamin said, they were also not critical intellectuals audiences in strictly speaking.
In a view of a specialization of theatrical company and expanding the range of audience through it like they insisted, their activities were definitely a failure. Because, even though they could improve economical situation such as increase in a number of audience, acquiring materialistic foundation, and specializing theatrical company, they could not achieve real meaning of theater play popularization in audience related matter. They excessively depended on translated plays showing strong intention to western plays, and lost their ability to speak up since they were trying to stay inside the policy to increase a profit. Nevertheless, their activities have a great value because they directly represented a transitional process of adapting a play to a modern society as the age of mechanical reproduction, and the modern Korean play started at that point with changes in characteristics and values of a play in the Korean theatric world through the process. Also, it is meaningful thatthey tried to create comedies that corresponded to the performing situation of the period adopting these changes into comedy creation. Therefore, their activities have a significant meaning for their trying of changing the Korean plays and comedies according to the social changes.

목차 (Table of Contents)

• 목차
• Ⅰ. 서론 = 1
• 1. 연구사 검토 및 문제제기 = 1
• 2. 연구 대상과 연구 방법 = 5
• Ⅱ. 1960년대 초 동인제 극단의 연극 대중화 시도 배경 = 11
• 1. 연극 관객의 기호 변화와 감소 현상 = 11
• 2. 연극의 문화 상품화 가능성 인식 = 21
• Ⅲ. 1960년대 동인제 극단의 연극 대중화 양상 = 30
• 1. 사실적인 표현 기법과 멜로드라마적 특성의 강화 = 30
• (1) 과도한 흥미소 중심의 창작극 작품 선정 = 30
• (2) 사실주의극 양식의 전용(轉用)과 통속성 증가 = 46
• 2. 탈사실주의극 기법과 희극적 특성의 강화 = 65
• (1) 희극 중심의 서구 번역극 작품 선정 = 65
• (2) 실험적 요소의 의도적 변용과 희극성 증가 = 81
• Ⅳ. 1960년대 동인제 극단 연극 대중화의 연극사적 의미 = 101
• Ⅴ. 결론 = 116
• * 참고문헌