한국 근대 연출사 연구 : 홍해성, 유치진, 이해랑을 중심으로 = (A) Study on the Modern History of Korean Arts of Directing : With Emphasis on Hong Hae-sung, Yoo Chi-jin and Lee Hae-rang

다국어 초록 (Multilingual Abstract)

The history of Korean drama has taken little interest in the modern history of Korean arts of Directing. In fact, the activities of modern directors can be identified by means of several newspaper articles and commentaries. There are many directors who helped to settle modern dramas, among whom the three most remarkable directors are thought to be Hong Hae-sung, Yoo Chi-jin and Lee Hae-rang.
The purpose of this dissertation is to survey the modern Korean history of directing by making biographical studies of major directors, including Hong Hae-sung, Yoo Chi-jin and Lee Hae-rang. The existence and development of modern Korean drama will also be studied through their influences and achievements.
This paper consists of five chapters. Chapter II deals with the theory and history of directing, followed by Chapter III which treats the appearance of professional directors. Chapter IV surveys the influences and achievements of Hong Hae-sung, Yoo Chi-jin and Lee Hae-rang, and Chapter V forms the conclusion.
In the 1920s the history of new drama began in Korea. The New Drama Movement was mainly promoted by Park Seung-hee, leader of Towolhoi, and later by Hong Hae-sung, Yoo Chi-jin and Lee Hae-rang. At that time a number of creative plays with enlightening and realistic qualities were performed, leading to a theatrical reform.
Hong Hae-sung made a great contribution to the foundation of Theatrical Art Research Society. He also prepared the footstone of a true theatrical reform with the information and knowledge obtained from his activities in Sukiji Theater, the cradle of Japanese theatrical reform. As an initiator of the Society he directed many dramas, largely foreign classic and modern dramas, in 1931, proposing the directing methods for new dramas. In November, 1935 he moved to Dongyang Theatre, the first commercial theater company in Korea, and became the leader of several theatre groups, including Chungchoonjwa, Heegeukjwa and Hohwasun. He directed more than 400 dramas. His active directing activities, which began with Theatrical Art Research Society in the 1930s and continued through Dongyang Theater period, played an important role in promoting the Korean theatrical reform, exploring the area of direction in the transitional period from the new drama to the theatrical reform. He also introduced realistic dramas to this nation by directing several translated dramas, making a great contribution to the development of modern drama.
Yoo Chi-jin, a playwright, director and theatrical reformer, devoted his life to drama, making a remarkable contribution to the development of modern drama. He had the excellent sense as a director. His excellence in directing made him praised as a model director to his junior directors and students. He directed more than 100 dramas, for 40 years, at Theatrical Art Research Society, Hyundai Theater, National Theater and Dram Center. At times he directed dramas from playwriter's viewpoints, which gave him a good fame. But, as he was involved in too many areas, he, as a director, seems not to have left many masterpieces.
Lee Hae-rang, who succeeded to Park Seung-Hee, Hong Hae-sung and Yoo Chi-jin in the 1920s, developed art for art's sake movement. He was a strong advocator of realism. He was a great director who succeeded to the tradition of Korean theatrical reform and developed new dramas and realism. From his days of Tokyo Students' Art Group, followed by those of Geukyonjwa, Kohyub and Hyundai 'Theater, he stood at the head of the right-wing dramas, leading the Korean theatrical reform movement. After the foundation of National Theatre, he led Shinhyub, introduced Shakespeare's plays to this land and completed the way of orthodox realism. On April 7, 1989, at the age of 74 he breathed his last, leaving about 200 dramas behind. His directing was the driving force for the establishment of the orthodox realism on this nation. He also showed his philosophy of life through his directing.
Now, on the threshold of the twenty-first century, Korean dramas are opening the age of 'rootless individuality'. To meet the new age effectively, the correct record of the past is required more than new creations and challenge. From this point of view, this paper, focusing on the theory and history of directing, the appearance of professional directors, and the influences and achievements of Hong Hae-sung, Yoo Chi-jin and Lee Hae-rang, will be of some help to keep a correct record of the modern Korean directing, and, furthermore, to prepare for the arrival of the next century.

목차 (Table of Contents)

• 목차
• ABSTRACT = ⅰ
• Ⅰ. 서론 = 1
• 1. 연구의 필요성 및 목적 = 1
• 2. 연구 범위 및 방법 = 6
• Ⅱ. 연출의 이론과 역사 = 10
• 1. 연출의 정의와 등장 배경 = 10
• 2. 연출사 고찰 = 15
• 가. 서양 연출사 개요 = 15
• (1) 연출의 태동 = 15
• (2) 연출의 독립 = 17
• (3) 연출가의 시대 = 20
• 나. 한국 연출사 개요 = 31
• (1) 연출가의 등장 배경 = 31
• (2) 광복이후 근대극의 연출 = 36
• 3. 리얼리즘(Realism) 연출 이론과 실제 = 40
• 가. 리얼리즘 연극의 등장 = 40
• 나. 리얼리즘 연극의 연출 = 43
• 다. 한국의 리얼리즘 연극 수용 = 46
• Ⅲ. 전문 연출가의 등장 = 49
• 1. 홍해성(洪海星)의 연출론 = 49
• 가. 홍해성 연출의 원리 = 49
• 나. 홍해성 연출의 실제 = 56
• 다. 홍해성 연출의 성과와 한계 = 66
• 2. 유치진(柳致眞)의 연출론 = 78
• 가. 유치진 연출의 원리 = 78
• 나. 유치진 연출의 실제 = 87
• 다. 유치진 연출의 성과와 한계 = 98
• 3. 이해랑(李海浪)의 연출론 = 119
• 가. 이해랑 연출의 원리 = 119
• 나. 이해랑 연출의 실제 = 127
• 다. 이해랑 연출의 성과와 한계 = 149
• Ⅳ. 홍해성, 유치진, 이해랑 연출관계와 위상 = 171
• Ⅵ. 결론 = 177
• 참고문헌 = 184