극단 연우무대 공연 연구 : 창단 이후 1990년대 까지 = A Study on Yeon Woo Theatre Company : From The Foundation to 1990s

다국어 초록 (Multilingual Abstract)

A theater has to reflect the creator’s artistic vision and the spirit of the time. Yeon Woo Theater Company has been trying to represent the heart of Korean people by working mainly on the original plays that bears the pain of each time. The Yeon Woo Theater Company positioned itself on the main core of the new play production movement in Korea that deals political issues for the ordinary people. The aim of this thesis is to analyze the passionate production history of Yeon Woo Theater by examining the performance expression and style of each time’s outstanding features.
In 1970, starting as a small theater study group, the Yeon Woo began to create its own work concerning on issues of the time and Madang theater style. Though the Yeon Woo has progressive tendency, starting from college theater group, it had to overcome amateurish skill and the poor level of new plays. However their amateurism became the main force of challenging and examining for their own theater style. Their ‘New Play Development Production Series’ was the iconic work on cultivating fertile ground of original plays that they did playwright together and adapted novels. Their amateurish experimental spirit surely did a main role on this on-going project.
The 1970s to 1980s in Korea was a time of resistance. 1970s resistance started from president Park Jung Hee’s reform of the constitution. The college students and the labors movement ignited. Many scholars and white collars also stepped into this tides. 1980s’ resistance was accelerated by president Jun Doo Whan’s dictatorship and massacre at Kwang-Ju Democracy Movement, and government’s regulation on press.
Yeon Woo Theater drew a Korean style epic theater using the elements of Madang theater that pertains traditional Korean performing elements in it. The Madang theater style became the seed of the very first Yeon Woo theaters.
Since 1990s the Yeon Woo Theater has showed postmodernism theater style. That is because the Yeon Woo’s political subject has lost, or at least weakened their aim. By the reason the Yeon Woo’s playwright style has positioned itself away from the resistance of people and more to the postmodernism variation.
Thus the history of Yeon Woo Theater Company is not just a theater company’s. It is a history of Korean new play development. And until now the Yeon Woo Theater has been providing novelty on overall Korean theater. The fact that they constantly challenged to represented the time and lives of contemporary in the people’s spirit is the reason that we proclaim the importance of the name of Yeon Woo Theater Company in the history of Korean theater. They wrote their 30 year old history weathering the moment of taking to pieces when they thought they could not represent the spirit.
This thesis is to examine the 30 year of progress of Yeon Woo Theater Company by the actual performance history esthetically.

목차 (Table of Contents)

• Ⅰ. 서론 = 1
• 1. 연구의 목적 = 1
• 2. 선행연구 및 연구방법 = 3
• Ⅱ. 창단과 초기 창작극 = 7
• 1. 창단과 배경상황 = 7
• 2. 창작극 개발의 노력 = 11
• Ⅲ. 정치적 발언으로서의 연극 : 80년대 공연을 중심으로 = 19
• 1. 민중의식과 극장으로 들어온 마당극 = 21
• 1.1. 전통의 계승과 민중의식 = 22
• 1.2. 마당에서 실내극장으로 = 25
• 1.2.1. 전통연희의 틀을 계승한 공연들 = 27
• 1.2.2. 전통연희의 요소를 현대화한 공연들 = 34
• 2. 서사적 실험 = 48
• 2.1. 소설의 극화 = 52
• 2.2. 마당극과 서사극의 결합 = 56
• 2.3. 서사극의 한국적 수용 = 60
• Ⅳ. 탈 근대적 정치극 : 90년대 공연을 중심으로 = 80
• 1. 연우무대와 포스트모더니즘 = 81
• 2. 포스트모던한 정치극 = 95
• Ⅴ. 연극의 저변확대 = 109
• 1. 연우가족극장 = 110
• 2. ‘한국현대연극의 재발견’ = 117
• Ⅵ. 결론 = 130
• ￭ 참고문헌 = 138
• ￭ ABSTRACT = 150