여성주의 관점에서 본 《산불》의 재해석 연구 = A Study on Re-interpretation of 《Sanbul (Forest fire)》Seen from Viewpoint of Feminism

다국어 초록 (Multilingual Abstract)

Feminism starts from a dualistic oppositional concept in men and women based on gender, which shows the social and cultural sex difference, not the biological sex difference. This aims to grasp a cause and status for the women oppression and to strengthen women's rights, by raising problems about men's prejudice and preconception from women's position. The period, which had been actively progressed the discussion about feminism, is the latter half of the 1960s. Feminism in this period aimed to re-recognize women's social position and role as the opposition to this, through the right understanding about structural contradiction, which is possessed by patriarchy centering on men. In case of Korea, feminism is flowed in before and after the 1960s that had been dominant in the social contradiction in patriarchy according to Confucian tradition. Around this time in Korean society, women's position and interest emerged over the surface while the name called 'women's culture' appeared. However, given trying to infer through the looks of the early period, the tendency of feminism was extremely weak.
What women received concern, who had existed as the other in Korean drama, is from after appearance of Ryu Geun-hye, Song Mi-suk, and Son Gyeong-hui with starting from the female producer Gang Yu-jeong. The time when the women's drama started to be activated in earnest can be seen to be the 1990s. The typical female producers, who began energetic activity in this period, include Han Tae-suk, Kim A-ra, and O Gyeong-suk. These people had a strategy for stage as the efficient expression mode of expressing women's psychology through experiment in the form of anti-realism. Also, female writers such as Jang Seong-hui, Kim Myeong-hwa, Kim Yun-mi, Jeong U-suk, and O Eun-hui appeared while showing the clearly different individual style in forming title and drama, thereby being conducive to accumulating female writer's capability through writing from women's viewpoint.
In our modern drama, Cha Beom-seok wrote mainly the realistic drama whose traditional individuality is clear through our peculiar materials. His works are having the title mostly as 'a human being's universality.' His typical work《Sanbul(Forest Fire)》, which was released in 1962, objectively depicts the conflict in ideology and the war situation in racial division, and is called as the representative work in the realistic drama of our country. Regarding《Sanbul》, the contradiction in ideology, which is the basic structure in drama, is set to the inconsistency in mountainous village and families who live there. And, it is the work that depicted the life and desire in women who were deprived and suppressed by the war, and has been continuously performed through several troupes and groups so far since the first performance in 1962.
Korean society at that time when《Sanbul》was first performed in 1962 was the paternal society according to Confucian tradition, and was the chaotic period socially and culturally.《Sanbul》, which has the background as the 1950s, could be found the looks of ideology in patriarchy, which is spreading inside it through the specially tense situation dubbed Korean war. This study examined which women's image the female characters have by men's sight and is proceeding with being changed when re-analyzing《Sanbul》from the sight of feminism. For this, 4 pieces in performance, in which the original work《Sanbul》was re-analyzed, were selected.《Sanbul》was re-analyzed in 1984 by production of Kim Hyo-gyeong, who is a disciple. Kim Hyo-gyeong had a question about the inconsistent attitude in Jeom-rye, who is a heroine in《Sanbul》, and newly re-analyzed the behavioral aspect in the female character in order to show the looks of proceeding with searching for her true love. In other words, the deaths in Jeom-rye and Sa-wol who are two female characters are exchanged. However, Jeom-rye's most basic problem seems to be insufficient, namely, for being seen that she did overcome a sense of inner inferiority caused by sterility and gained positive love escaping from the patriarchal society. Still, the producer offers a positive starting point from the viewpoint of feminism by analyzing the looks of proceeding with seeking for own subjective love inside it while adapting to the given reality. This has a great significance in a sense that the sight of looking at women by a male producer is being slowly changed in the 1980s.
The playwriter Cha Beom-seok directly participated in an adaptation of《Sanbul》produced by Kim Sam-il, which was performed in 1989. In this process, the consciousness in a male writer and producer could be discovered to have been changed. The conclusion is seen the looks that Sa-wol and Jeom-rye proceed with living with designing the optimistic attitude toward future and the positive own life. Through the work in a writer of realism of reflecting period, the social sight of looking at women could be inferred to be changed. Women's image, which was one-step further at that time, is confirmed by newly re-analyzing Sa-wol's death and then depicting Sa-wol as the character who proceeds with making own life subjectively and progressively.
Since the 1990s, the drama cycles have been performed diverse genre attempts. SEENSEE MUSICAL COMPANY produces《Sanbul》 with musical aiming at a new jump in our creative musical. The attempt in new genre is impossible without the solid dramatic technique in the original work.《Dancing Shadow》was the ambitious project that had the long production period from 1999 to the opening in 2007. However, as a result of focusing on the formation of foreign staffs, it was centered just on 'universalization in the world,' thereby leading to the result of having distance from the intention of the original while abandoning historical recognition and Korean-styled materials. Accordingly, the inconvenience remains enough to see that it achieved the bloated dream of true Korean creative musical. However, female characters, who try to keep the forest of appearing in the work, are being depicted as the advanced looks of acquiring viewpoint dubbed the implementation of futuristic women's image as the characters of clear individuality, who embody basic value in ecological and environmental movement in feminism for the 21st century, thereby being encouraging.《Dancing Shadow》has its significance in a sense that attempted implementation of new female characters along with sorrow according to it in addition to the outcome called the first experience in the advanced musical production system in musical history and dramatic history.
《Sanbul by Kim Hyeon-tak》is a work of being strong in experimental property, which was staged by a young producer in 2006, and can be seen to be a work that reveals the latest tendency in the aspect of period. This work is concentrating on what is individual and peripheral while containing diversity in recent feminism. However, it still failed to remove the remainder of patriarchal ideology centering on men, allowed sisters' affection in female characters to be equivalent simply to desire and jealousy for men, and understood it only as the homosexual-wide love, thereby having a limitation that generalized one sectional fact. The intention of bold production in order to use new dramatic language and to communicate with the audience in this work can be seen to be positive at one side. However, in a sense that stopped at the unilateral attempt from the producer's position, the inconvenience remains in its result.
As having been examined, feminism proceeds with being changed and grown continuously through collision and mutual supplementation by having diversity as characteristic. Feminism already sought for a new way that can overcome problems of pluralism while passing through the process of development in modern and de-modern consciousness. Namely, it is what talks about the necessity of coexistence that individuality true to a human being is harmonized, which overcame this, not 'difference' in dualistic concept in men and women. This is a point that can connect universalism and particularism together. Accordingly, the solution in a basic problem will be made when being solved by seeking for a cause for discriminative consciousness between men and women.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1. 연구목적 = 1
• 2. 선행연구와 연구방법 = 3
• Ⅱ. 한국연극과 여성주의 = 7
• 1. 서구의 여성주의 이론과 경향 = 8
• 2. 한국연극에 나타난 여성주의 = 16
• 3. 차범석 희곡에 나타난 여성주의 = 23
• Ⅲ. 차범석《산불》의 가부장제 이데올로기 = 33
• Ⅵ. 여성주의 관점에서 재해석한《산불》 = 50
• 1. 여성인물의 주체적 변화 - 김효경 연출《산불》(1984) = 50
• 2. 적극적 여성성의 획득 - 차범석 개작, 김삼일 연출《산불》(1989) = 64
• 3. 보편적 인간성으로의 승화 - 신시 뮤지컬《댄싱 섀도우》(2007) = 76
• 4. 모호해진 성 정체성 - 실험극《김현탁의 산불》(2008) = 88
• Ⅵ. 결론: 여성주의의 다원적 적용을 향하여 = 99
• 참고문헌 = 102
• ABSTRACT = 109