Shakespeare 受容過程 硏究 : 韓國演劇에 미친 影響과 관련하여

국문 초록 (Abstract)

地球上의 모든 種族은 나름대로의 儀式과 演劇樣式을 갖고 있다. 차이점이라면 儀式과 藝術을 共有하는 古典的 形態의 演劇을 갖고 있느냐 아니면 儀式으로부터 完全 脫皮한 劇藝術을 갖고 있느냐 하는 일이다.
東洋人들은 절대적 存在와 人間의 관계는 固定된 것이라는 宇宙觀 때문으로 해서 演劇도 根本的 變化를 꾀하지 않았고 결국은 停止의 狀態에서 유지해 왔다고 하겠다. 가령 우리의 傳統劇이라 할 假面劇을 爲始한 꼭두각시入形劇, 판소리 (音樂劇)등이 수백년동안 양식의 변화없이 존속되어온 것도 그런 思想的 바탕에서 理解될 수 있는 것이다.
그러나 開化期에 접어들면서 이 땅의 演劇은 急變하기 시작했다. 전통적인 사회가 붕괴되고 새로운 近代的 社曾가 形成되는 過程에서 大衆의 感覺的 기호도 변화할 수 밖에 없었고, 따라서 욕구 또한 변한 것이다. 새로운 時代에 부응한 교육은 新文化를 要求했고, 이때 西洋文化의 소개는 大衆에게 큰 충격을 주었다. 이러한 와중에서 西洋文化는 광범위하게 소개되었다.
1910年代 民族自覺의 價値觀이 西歐의 近代思想을 기준으로 삼았기 때문에 西洋文化의 實相을 大衆에게 알릴 必要性을 느낀 것이다. 演劇의 경우도 예외가 아니어서 희랍비극 作家들로부터 近代作家, 作品들까지 번안 또는 번역되기에 이른 것이다. Shakaspeare도 이때부터 비로소 번역, 소개된 것이다.
西洋演劇은 韓國演劇의 方向設定에서부터 方法論에 이르기까지 절대적인 영향을 주었으며 大衆敎養을 얼마나 향상시켰느냐 하는 것을 거의 연구하지 않았다는 이야기다. 그 점에서 西洋演劇의 受容過程을 糾明하는 일은 대단히 긴요하다. 그 중에서도 한국연극뿐만 아니라 文學 그리고 英文學에까지도 대단한 영향을 준 Shakespeare의 移植過程을 究明하는 일은 時急하다. 실제로 Shakespeare는 수 백년에 걸쳐 世界文化에 기여했고 한국문학에 상당한 영향을 미친 그는 英國劇과 별도로 분리, 연구할 가치가 있는 人物이다. 따라서 필자는 多角的인 측면에서 Shakespeare의 受容背景을 규명코자 한다. 그러나 이 分野에 대한 最初의 연구작업이기 때문에 實證的인 바탕에서 比較演劇學 方法論을 動員치 않을 수 없다.
우리의 近代演劇史가 그렇듯 Shakespeare의 受容過程도 이땅의 解放이 대체로 分岐點이 된다. 가령 Shakespeare를 놓고 볼 때도 解放前까지가 우리들에게는 하나의 體驗期라고 한다면 그 以後는 認識期라고 말할 수 있다. 卽 해방 전까지만 해도 Shakespeare는 다만 흠모와 모방의 대상이던 것이 以後에 Shakespeare는 硏究의 대상에 되었다. 드디어 Shakespeare 學의 形成까지를 可能케 한 즈음 崔載瑞란 한 英文學者의 Shakespeare 硏究에의 挑戰은 그간 이 땅에 Shakespeare를 번역, 소개한 玄哲과 金祐鎭으로부터 출발해서 그 뿌린 씨앗을 싹틔워 꽃을 피게 한 金東錫과 薛貞植을 경유해 과감히 Shakespeare의 劇作術을 作品에 도입하여 創作을 했던 柳致眞에 이어서 崔載瑞는 1950年代 후반부터 60年代 초반까지 決定的인 이땅의 Shakespeare 연구에 변화를 가져다 주었다.
崔載瑞는 Bradley의 Shakespeare 悲劇硏究에서부터 나름대로 再整理하여 實證的, 分析的 批評方法에 依한 秩序論的 Shakespeare 藝術論을 확립하고 한국 Shakespeare 學 발전에 획기적인 理程標를 세웠다. 이런 Shakespeare 學의 集大成이란 그의 업적도 方法論的 문제점과 學問的 限界性을 內包한 바 Shakespeare의 作品世界를 Renaissance 및 Elizabeth 朝의 哲學, 科學 그리고 宗敎 등 精神史的 側面과 연관시켜 깊이 考察치 못한 點을 本稿에서는 補完했다. 卽 新Platon 主義的이며 허미즈的인 宇宙論을 考察해서 不完全한 崔載瑞의 秩序論의 確立을 기했다.
本稿에서는 開化期의 교과서를 통한 Shakespeare 紹介로부터 60年代 중반 硏究의 일단락까지를 一次元的으로 명료하게 밝힌 바 目次와 같은 Shakespeare의 소개는 30年代 C.Lamb을 통한 번역,소개에 이어 解放期의 격동과 과도적인 시기를 지나 6.25 戰亂期 直後 Academism으로 바뀌어 전국의 대학들이 발전함에 따라 그 硏究의 深度도 거듭 擴大發展해 나갔다. 끝으로 崔載瑞 以後 Shakespeare 硏究의 과제는 곧 崔載瑞의 限界를 克服하는 것으로부터 出發하는 作業이라 하겠다.

다국어 초록 (Multilingual Abstract)

In the history of Korean modern literature and , new Korean cultural traditions could have been formed and developed under foreign influences. In order to make modern Korean literary history more systematic it is necessary to research the comparative approaches of Korean literature with European literature which influenced Korean literature covertly and overtly.
In particular, among the western countries the developed countries literatures- England, German, France, America and so forth - had absolute influence on Korean literature. For instance, in the case of Korean new drama, Korean drama began to receive the western dramas in the course Korean classical Chang-plays by forces of Japanese new-school plays.
The study of Korean acceptance of the western drama is to investigate the history of modern drama and to examine its quality and quantity.
Meanwhile, because it is important to determine how Shakespeare, who contributed much to the development of drama world-wide, influenced Korea and how Shakespearean drama played a fundamental role in Korean dramas, they, too, were surveyed. In particular, because Shakespeare has had wide influence on Korean liberal education, literature and Korean dramaturgy as well as the world of Korean works, it is very remarkable to survey the concrete flow, and acceptance process and influential relations.
This is also a study investigating the background of the Korean modern spirit. Strictly speaking, the history of modern Korean literature and art is not yet well enough arranged. Especially, these studies are not sufficient in the view of comparative literary approaches. There is a book written by Kim Byungcheol-'A study on the history of Korean modern translated literature' - but it is said that he merely arranged those materials into his book. Therefore, in the present situation i t i s urgent to have more concrete and profound stuies in terms of important authors and countries.
This dissertation intends to materially systemize the history of accepting Shakespeare from the point of view of comparative literary approaches This dissertation adapts comparative approaches and actual proof approaches of Korean drama and drama world-wide synchronically. The reason is that it is necessary to the historical approaches as this study is to establish the history of modern Korean drama, and further the history of modern Korean literary art. Owing to the lack of existing studies in this field, it is essential to arrange the related materials in detail and to adapt the actual proof approaches of it.
This study aims primarily to arrange the history of accepting Shakespeare in the above mentioned respects with explication. Furthermore, this is an attempt to look for how Shakespeare has influenced and improved the development of modern Korean drama and also how he has bees influential in determining what direction Korean drama would take. Ultimately this dissertation is to contribute to the establishment of the history of Korean drama.
It was just the age of englightenment and the sprouting periods in new civilization when William Shakespeare, the English dramatist, was introduced into Korea for the first time. At that time, with a name that looked so strange to the Korean people, Shakespeare seemed to be not a person as dramatist, but the greatest man that ever lived among the great names of history. Therefore, even his works were introduced only partially, not as a whole.
In chapter Ⅲ, this dissertation intends to examine the march 1st Korean Independence Movement related with Shakespeare.
Although they were poor retranslations, there were Hyunchol's Hamlet and Lee Sangsoo's 'Merchant of Venice' which were translated completely without an abridgement.
Furthermore, Korean theatre people within the country had started accepting Shakespeare in order to study or introduce him into Korea ardently by this time.
In particular Hyunchol must be given a high assessment as a transmetteur who introduced foreign literary trends and theories. More than that, as a predecessor of the public drama movement he outshone indisputably his contemporaries.
Kim Woojin (1897-1925), a leader and one of the great theatrical people who founded the 'Theatrical Art Association' with the tour company 'Dong- woohoe' finished his unfortunate life as a scapegoat of representing ill - fated ages of Korea and not only suffered from the serious problems facing the difficult situation of Korean intellectuals, but also was a dramatist who studied and introduced Shakespeare into Korea ahead of anyone also in his time.
In Chapter Ⅳ, dealing with Shakespeare related to the movement of fullscale new rams, above all, the problems of Korean theatrilcal circumstances in the 1930's are shown as below ; The suffering in the 1930's was more painful than the Korean people had known in any other period since the dawn of history. It was also the age of applying heat to Japaness colonialism and the function of Japaness imperialistic viciousness to Korea strengthened the system of plundering Koreans of our property for unifying Korean economic powers.
Since the beginning of the 1930's Shakespeare was accepted a little to the mass of the Korean people, for many kinds of papers and magazines contained bits of writing on Shakespeare not as a book but as an article.
How new Japanese dramas were able to be transplanted into Korea is divided usually into three periodical phases. The first was called the age of jumping in the 1910's. The second was the age of unprovement in the 1920's. The third was the age of settling in the 1930's. So much as in the 1930's, new Korean dramas, which were designated as commercial drama, were rooted for the first time discarding the tradition of Japannese style for our own. This was the age of readjustment i n new Korean dramas in our own way.
Upon this opportunity the climate of Korean dramas has been changed and improved to penetrate European realism or natural ism so that European theatrical theories introduced Shakespeare into Korea and expanded theatrical criticism along with the experimental stages of modern Korean dramas.
In Chapter Ⅴ, dealing with the problems on Korean Liberation in relation to Shakespeare to it , theatrical conflict after Korean Liberation is depicted. It is said that August 15th Korean Liberation in 1945 constituted the most important event in the history of Korean literature during the twentieth century. Like the result indicated by lots of the learned people, because is was not independence but a Liberation, it was quite different from the earlier literary condition before the Liberation. The trends of Korean dramas since the Liberation, took a new turn into three categories : the first was enlightening realism the second a socialistic realism that showed strong political consciousness, and the third was new commercial dramas.
First of all, Seol Jeongsik contributed to a direct version of Hamlet, escaping out of the former retranslation of the Japanese version through his thesis Dramatic poems and Shakespearian Prose.
Kim Dongseok had charge of the studies on Shakespeare in the 1950's and promoted them to a higher position. Not enough was the introduction or sheer acceptance of Shakespeare, he elevated it to a regular study for deep learning. He Linked his study of Shakespeare to Choe Jaeseo's (崔 載端) climax of the study on Shakespeare in the 1960's. In his thesis Kim Dongseok divided, Shakespearian prose into three classes : the one was 'Falstaff's prose', another was 'King Lear's prose' and the third was 'Iago's prose'.
In retrospect, it will be a problem to be studied in future that English literature, which had a tradition of prose for 350 years just like the naturalistic turn of 'Falstaff's Prose', the psychological turn of 'King Lear's Prose' and the scientific turn of 'Iago's prose', still retains a lingering love for poetry as well.
Chapter Ⅵ deals with the Korean War related to Shakespeare. This Chapter brings up the problem of performance of Shakespeare's plays by the company 'Shinyop'(新協n) in pusan during the Korean War. The Korea National Theatre in Seoul was als o established when Korea formed a new government. As soon as the Korean theatrical world tried to be restored, North Korea invaded the Republic of Korea and destroyed the dramatic bonds of Korea in a brief space of time. At any rate, until an able company appeared t o act out and digest Shakespeare's plays well enough, it took at least 40 years, and i t was just the appearance of the company Shinhyop. This company severed its ties with the Korean National Theatre during the Korean War and linked the movement of Korean dramas to the performance of Shakespeare's plays and took the Four great tragedies of Shakepeare performed every one or two years but also they often prepared creative plays against communists during the war, partly showing Othello, Macbeth and Julius Caesar befor spectators in Pusan. Why did Shakespears's plays succeed in marking a boom in spite of war time in refuge of Pusan ?
On the whole our messangers, Hyunchol and Kim Woojin sawed a barren field of studying Shakespeare with seed and then, efforts to reach the peak of this study by way of Kim Dongseok and You Chi jin were in full bloom and had good results with Ghoe Jaeseo.
In 1964, on the occasion of 400th Shakespeare's birthday anniversary a splendid ceremony was given in England, of course, and all over the world, By the medium of lectures, seminars and varied exhibitions on Shakespeare, as well as through entertainments and amusing plays of the Eiizabethan age Shakespeare's festival was magnificant and shone forth in history We must, therefore, revaluate and admire his position as a creative poet. If there is a future kingdom for Korean poetry or for Korean drama, then Shakespeare must long be remembered as one of its first explorers in Korea

목차 (Table of Contents)

• 목차
• 國文要約 = ⅰ
• Ⅰ. 序論 = 1
• Ⅱ. 開化期에 있에서의 Shakespeare 論議 = 6
• 1) 개화기의 文藝 狀況 = 6
• 2) 개화기의 Shakespeare 接觸 = 22
• Ⅲ. 三·一運動期와 Shakespeare = 44
• 1) 民族自覺과 玄哲의 Shakespeare 飜譯 = 44
• 2) 1920年代의 Shakespeare 論議와 金祐鎭 = 62
• Ⅳ. 本格 新劇 運動期와 Shakespeare = 87
• 1) 劇藝術硏究會와 Shakespeare = 87
• 2) 柳致眞에 미친 Shakespeare의 영향 = 107
• Ⅴ. 民族 解放期과 Shakespeare = 146
• 1) 文化 激動期의 Shakespeare = 146
• 2) 新協의 Shakespeare 公演 = 171
• Ⅵ. Shakespeare 硏究의 成果 = 184
• 1) Shakespeare 飜譯과 硏究 = 184
• 2) 金東錫의 Shakespeare 論 = 209
• 3) 崔載瑞의 Shakespeare 學 = 222
• Ⅶ. 結論 = 293
• 參考文獻 = 301
• Abstract = 317