토월회 연구 = Study of Towol-hoe

국문 초록 (Abstract)

20년대 초에 풍미하여 演劇界의 판도를 바꿔 놓았던 素人劇團들이 대부분 아마추어 연극 운동으로 끝났지만 그렇지 않은 예외도 있었다. 그 代表的인 劇團이 바로 土月會였다. 특히 土月會는 素人劇으로 出發하여 專門劇으로 발전된 하나의 예도 되지만 20년대 演劇의 어려움도 보여준 경우였다.
土月會는 그 出發이 演劇團體로 시작한 것이 아니라 東京留學生들의 문화 써클로서 每周 한번씩 모여서 活動하던 중 여름방학을 맞아 귀국할 때 무엇을 할 것인가를 의논한 끝에 애국심이 강한 朴勝喜가 演劇으로 大衆啓蒙을 시도하기로 주장하여 演劇活動 단체로 출발한 것이었다.
東京留學生들에 의하여 조직된 土月會는 매우 특이한 劇團이었다. 우리 演劇史 속의 대부분의 劇團들이 新派면 新派로서, 正統 新劇이면 新劇으로서 하나의 색깔로 일관했는데 土月會만은 세번의 변질과정을 겪었다. 순수 학생들이 創立해서 학생 민족운동의 일환으로 公演한 2회 까지를 土月會 初期인 학생극 시대 (1922∼1923), 2회 공연 후 朴勝喜와 주로 십입회원들로 재편하여 職業劇團 土月會로 轉身하여 1931年末 土月會 간판을 내릴 때까지를 중간극 시대 (1924∼1931), 그리고 1932年부터 1936년 완전 해체될 때까지 太陽劇場이란 간판을 걸고 全國을 유랑하던 시기를 신파극 시대( 1932∼1936)로 三分된다.
이와 같이 土月會는 學生劇→中間劇→新派劇이란 세단계의 기구하고도 기이한 길을 걸은 劇團이었다. 그러나 士月會는 低質 新派劇이 있었던 時代에 登場하여 비록 成功을 한 것은 아니지만 그래도 리얼리즘에 가까운 演劇을 初期에는 시도했던 劇團이었다. 따라서 演出, 演技, 劇本, 舞臺裝置 등에 있어서 日本의 三流 新派劇을 못 벗어나던 1920年代 演劇界에 혁신을 가져오는데 크게 기여한 것만은 事實이다.
이들의 公演과 더불어 비로소 사실적인 무대장치, 의상 등이 보여졌고 자연스러운 일상 회화식의 대사와 연기, 작품 내용의 고증을 통한 사실적인 演出法이 소개되었던 것이다.
그러나 徐恒錫이 지적한 대로 土月會의 演劇은 文藝思潮上 낭만주의에 가깝다는 사실을 놓고 보더라도 土月會는 리얼리즘을 기조로 하는 本格 新劇團體는 못 되었던 것이다.
결국 土月會 가 '學生劇 (近代劇) → 中間劇 (改良新派) → 新派劇(大衆劇)'으로 초기 2회 공연까지 同時代의 同友會巡廻劇團, 螢雪會巡廻劇團 등과 더불어 서구 近代劇 도입의 초기단계를 이룬 것이다.
그러나 土月會에 대한 硏究로는 土月會를 創立시켰고 거의 이끌다시피한 朴勝喜 硏究와 함께 방대한 戱曲史, 演劇史, 劇團史의 일부로서 部分的으로 다루어진 바 있으나 아직은 미답의 상태로 남아있다.
따라서 本 論文에서는 韓國演劇史에서 1920年代 演劇界에 혁신적인 공헌을 한 土月會를 硏究함에 있어 公演活動, 公演作品 및 作家, 演劇史的 位相 등의 實證的인 자료를 통하여 총체적으로 고찰함으로써 韓國新劇史에 있어서 土月會가 갖는 演劇吏的 位置를 밝히고 그 功過를 評價하고자 한다.

다국어 초록 (Multilingual Abstract)

Although most of the amature dramatic company which had changed radically the territory of drama in 1920s were finished as a pure amature drama movement, there was a few exception. The Towol-hoe was the representative drama company in this case. Especially, the Towol-hoe was an example that some drama groups had been developed from amature to professional, but it also showed the difficulty of 1920s' drama activity.
The Towol-hoe did not start initially as a dramatic company. In those days, some students studying in Tokyo got together in a cultural circle every week in every summer vocation. They had discussed about what to do for their country. One of them insisted to organize an dramatic group as a part of enlighting movement for people. Resultly, this circle is the very start of Towol-hoe, and he was just Pak Seung Hee, a patriot.
The Towol-hoe organized by students studying in Tokyo was a very peculiar dramatic company. In our drama history, most of typical dramatic company which played new-school dramas, did not play anothodox plays at all, and the reverse was the same, too. However, only the Towol-hoe had changd as much as 3 times their identity. The history of Towol-hoe ois divided into 3 periods, generally; 1) the student-drama age(1922-1923), in which students organized this group and played two times a public performance as a part of independent-movement, 2) the middle-phased drama age(1924-1931), in which, after the second public performance, Pak Seung Hee reorganized as a leader the group with recruit and changed the title of it, from Towol-hoe to the dramatic company "Towol-hoe". This period was finished at the end of 1931 by removing the title of Towol-hoe. And lastly, 3) the new-school drama age(1932-1936), in which they wandered about national-wide with the title "The theater of Sun" until it was disjointed entirely in 1940.
Towol-hoe had such a complex and varied career of 3 steps as Student-drama → Middle-phased drama → New-school drama. Although it didn't make a great success in 1920s when rude new-school dramas were the mainstream of the situation, they attempted, in initial period, to perform realism. Accordingly, they had contributed greatly to renovation of the 1920s' drama. In those days, the level of drama in Korea was only the third rate of Japan new-school drama, in production, performances, scenario, and state arrangement. Through their performances, we could find firstly the realistic stage arrangement and theatrical costume. It also was introduced, first, through the Towol-hoe, to speech and act naturally like a daily talk, and to perform realistically through the investigation of play's story.
However, as pointed out by Seo Han Suk, Towol-hoe has not been developed to the stage of new-drama company based on realism because the plays by Towol-hoe were near romanticism.
As a result, in the first age from the 3 phase of "student drama(modern drama) → middle-phased drama(advanced new-school drama) → new-school drama(drama for people), until the second public performance, they introduced the modern drama of Europe into Korea, with the tour dramatic company "Dongwoo-hoe" and the another tour dramatic company "Hyongsul-hoe". There are some studies for Pak Seung Hee, founder and leader of it, and for Towol-hoe as a part of vast history including the separate history of scenario, drama, dramatic company, but that field has been nearly untouched. Hence, in this study, we will prove its position in Korean new-drama history, and evaluate its contribution by synthetically investigating its performance activity, scenario and writer, and its drama-historical position.

목차 (Table of Contents)

• 목차 = ⅰ
• 國文要約 = ⅲ
• Ⅰ. 序言 = 1
• 1. 問題의 提起 = 1
• 2. 硏究의 目的 및 方法 = 6
• Ⅱ. 土月會의 活動 = 8
• 1. 學生劇 時代 = 8
• (1) 最初의 學生劇運動 = 8
• (2) 土月會의 發足 및 前期 公演活動 = 10
• (A) 土月會의 發足 = 10
• (B) 前期 公演活動 = 14
• 2. 中間劇 時代 = 23
• (1) 職業劇團 = 23
• (2) 光武臺時節 및 再起公演 = 31
• 3. 新派劇 時代 = 58
• Ⅲ. 公演作品 = 71
• 1. 創作劇 = 72
• 2. 飜譯劇 = 95
• Ⅳ. 土月會의 演劇史的 位相 = 101
• 1. 演劇史的 位相 = 101
• 2. 土月會의 功過 = 105
• Ⅴ. 結論 = 108
• 參考文獻 = 111
• 附錄 公演活動目錄 = 115
• ABSTRACT = 123