한국어린이연극의 발달과정에 관한 연구 = (A)study on the development of children's theater of Korea in 20th century from historical perspective

다국어 초록 (Multilingual Abstract)

This study examines the development of Children's theatre of Korea in 20th century from historical perspective. Children's theatre in Korea began in the 1920s. It was introduced by Christian missionaries and by Korean intellectuals who, during the Japanese occupation of Korea(1910-1945), had studied in Japan. Children's theatre productions by Christian missionaries were simple one-act operetta in which dialogue alternated with music and dance; they were at once educationally religious and patriotic. Another source of children's theatre in Korea originated from children's drama written by authors of children's literature in the 1920s; their main motive was to project nationalistic themes. They believed that the most effective way to modernize the country and to achieve independence from Japanese rule was to employ children's theatre as a means of indoctrinating and encouraging Korean patriotism, as well as for introducing modern education.
Towards the end of the 1930s all children's drama was prohibited by the Japanese who had embarked in a war with China that eventuated in World War II. Indeed, the colonial government banned all Korean social and cultural activities including the use of the Korean language in schools and in any official business. After Liberation in 1945, writers produced no more children's plays because their political and social purposes had disappeared. Few children's plays were staged throughout the 1950s. But soon children's drama was revived by school teachers who included in textbooks of the Korean language.
By the 1960s children's theatre was being presented by school teachers in amateur productions. Soon these companies and associations of children's theatre were organized, and the first production guide books for school production and children's theatre were published.
Pyung Joo was the only active playwright of children's drama in the 1960s. He wrote about 100 children's plays based on the real life of children and fairy tales; another plays were adapted from works of Korean literature -- three of which were included in elementary school textbooks of the 1970s. Most of his plays were faithful to his theory of children's plays, i.e., they should have an instructive moral and educational purpose. Moral righteousness was the main theme of his work. He also wrote several theoretical books on the subjects of school productions and children's theatre.
At the end of the 60s, the activities of amateur producers of children's theatre faltered and diminished because of the widespread viewing of television. This, however, brought about the entry of professional adult theatre companies for the commercial exploitation of children's theatre. The surviving amateur companies followed their example by commercializing their productions. In the 70s new professional children's theatre companies were founded, each aiming at commercial success. The original social and educational purposes of children's theatre were virtually forgotten in pursuit of entertainment for profit.
Korean society became even more consumer oriented in the following years and the commercialization of children's theatre continued into the 1980s. Musical productions became very popular. Musical theatre with its mixture of dance, music and spectacle were more attractive to children (arid their parents) than dialogue-centered dramas. Korean children had become accustomed to the action and spectacle of the cartoon programs on television and in the movies. To find audiences, and thus financial security, amateur as well as professional children's theatre companies increasingly turned to musical productions in the 1980s, which, for the first time drew unprecedented audiences.
A consequence of the commercialization of children's theatre was the diminished activities of playwrights of children's theatre and of educational children's theatre, in particular. Playwrights had lost opportunities to publish and to stage their plays since most professional companies no longer wished to produce domestic Korean children's plays; they were commercial poison. Even amateur children's theatre companies chose to stage well-liked foreign children's stories or TV cartoon stories. Although the playwrights created on association and a magazine as a means of publishing their works, the commercial situation could not fail but to discourage Korean playwrights.
The construction of small theatres and the establishment of a permanent theatre for children's theatrical productions in the 1980s opened new possibilities and a potential that was quickly filled by puppet theatres for children. The Gonggan and Parangsae Theatres maintained a permanent daytime venue for puppet theatre companies. The production of children's puppet theatre quickly proliferated. Puppet Theatre Festivals were held in Seoul and in Choonchun City at the end of 1980s and both festivals continue successfully until today.
In the 1980s, creative drama was introduced in Korea through workshops taught by Jane Schisgal, which were co-sponsored by the Korean-ASSETEJ and the religious organization Chondokyo. This was followed up in 1993 by Nancy and Lowell Sworztell's creative drama workshops held in Seoul. Also, Young-ae Choi, who had studied creative drama through his productions of children's theatre and workshops.
Because of the Introduction of creative drama, productions of children's theatre became less commercially oriented. Educational productions increased during the 1990s, bringing about a transformation of children's theatre. The development of non-commercial, educational children's theatre was further stimulated by a contest held in 1992. ASSETEJ-Korea organized the first nationwide children's theatre contest in Korea.
Children's theatre is now developing in quality and quantity. The Increased number of theatre available for children's theatre productions and the new awareness of the educational potential of drama for children have resulted in the formation of many new companies and an increasing number of productions.
Children's theatre can deliver knowledge and affect the emotional cultivation and character development of children. Thus, children should be encouraged not only to view performances of children's theatre but also to participate in their productions, both in the classroom and in the theatre. In the past, children's theatre in Korea has been mainly a vehicle for the religious, social, political, and commercial ends of adults. However, having reached a degree of maturity, children's theatre in Korea is now prepared to advance goals that are more appropriated for the intellectual, artistic, imaginative and emotional development of children.
Children's theatre must be done primarily for the sake of the child audience. Until recently Korean society has been adult centered. Children's theatre only occasionally achieved the kind of psychological sophistication and aesthetic level to enhance the character formation of children. Much of children's theatre satisfied adult expectations, with the questionable exception of dramatized fairy tales. Educators and theatre practitioners of children's theatre have to realize not only the educational value but also the psycho-aesthetic potential of children's theatre beyond mere entertainment. Today, children's theatre in Korea needs to be more creative in its artistic purpose and more educational in its theoretical philosophy. Innovative methods of participation and performance are required not only in the classroom and the school auditorium but also on the professional stage as well.

목차 (Table of Contents)

• 목차
• Ⅰ. 서론 = 1
• 1. 연구목적 = 1
• 2. 선행연구 = 4
• 3. 연구내용과 방법 = 9
• Ⅱ. '어린이연극'의 개념 = 15
• Ⅲ. 한국어린이연극의 태동과 형성 = 25
• 1. 계몽적 성향의 어린이연극(1920년-1940년) = 25
• 1) 한국어린이연극의 성립 배경 = 25
• (1) 서양 신연극의 도입 = 25
• (2) 주일학교 교회극 활동 = 28
• (3) 천도교의 어린이 문화운동 = 32
• 2) 주요 극작가와 작품의 특성 = 37
• (1) 주요 작가와 작품 = 37
• (2) 작품의 특성 = 44
• 3) 아마추어 연극 활동 = 62
• (1) 학교 및 종교 단체의 공연 = 62
• (2) 동극 연구단체의 공연 = 70
• (3) 라디오 드라마의 시작 = 77
• 2. 사회적 혼란과 어린이연극의 침체(1941년-1960년) = 80
• 1) 일제 식민 말기의 어린이연극 = 80
• 2) 해방 직후의 어린이연극 = 82
• (1) 희곡 창작의 부진 = 83
• (2) 라디오 드라마의 활성화 = 88
• 3) 한국전쟁후의 어린이연극 = 91
• (1) 학교극의 출현 = 91
• (2) 어린이희곡의 교과과정 편입 = 94
• (3) 교육기관 중심의 어린이연극 = 98
• 3. 학교극과 전문극단 중심의 어린이연극(1961년-1980년) = 100
• 1) 학교극 활동 = 100
• (1) '한국아동극협회'의 설립 및 활동 = 100
• (2)_'한국아동극경연대회' 개최 = 102
• (3) 학교극집 및 이론서의 등장 = 104
• (4) 제2차, 제3차 교육과정에 수록된 어린이희곡 = 108
• 2) 주요 극작가와 작품의 특성 = 112
• (1) 주요 작가 및 작품 = 112
• (2) 작품의 특성 = 114
• 3) 전문극단의 활동 = 120
• (1) 어린이배우 중심의 활동 = 120
• (2) 성인극단의 어린이연극 참여 = 125
• Ⅳ. 어린이연극의 변화와 발전(1981년-2004년) = 128
• 1. 어린이연극의 발전 배경 = 128
• 1) 어린이연극 관련 기구의 설립 및 활동 = 128
• 2) 어린이연극 축제의 활성화 = 132
• 3) 어린이관객을 위한 인형극의 붐 = 142
• 4) 공연장의 증가 = 150
• 5) 학교극 활동 = 152
• 6) 연극놀이(Creative Drama)의 도입 및 보급 = 159
• 7) 성인배우 중심의 전문어린이극단의 증가 = 162
• 2. 어린이연극의 발전 양상 = 170
• 1) 외적 물량의 증가 = 170
• 2) 레퍼토리의 변화 = 173
• (1) 모방과 각색 = 173
• (2) 창작어린이연극의 발전 = 179
• ① 놀이성의 강화 = 181
• ② 전통의 계승과 창조 = 192
• ③ 어린이 현실의 반영 = 201
• ④ 연극과 교육의 만남 = 205
• 3) 무대형상화 기법의 발전 = 211
• 4) 해외교류 = 218
• (1) 해외극의 초청 = 218
• (2) 해외단체와의 합작 = 225
• (3) 해외로의 진출 = 227
• Ⅴ. 결론 : 어린이연극의 중흥을 위하여 = 230
• 참고문헌 = 238
• ABSTRACT = 256
• <부록 1> : 1920~1950년에 월간지 · 일간지에 발표된 아동극 극본 목록 = 261
• <부록 2> : 1920년에서 현재까지 간행된 아동극 관련 단행본 목록 = 269
• <부록 3> : 1980~1989년까지의 아동극 공연 연보 = 272
• <부록 4> : 서울어린이연극상 역대 수상작(1992년~2004년) = 287