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김상교 한국연극학회 1999 한국연극학 Vol.12 No.1
KukYeSulYeonGu-Group(KukYeon) is representative theatre group in colonial periods of Japaness. And KukYeon greatly contributed in development of early korean modem treatre. But it is not took cognizance of that KukYeon took part in broadcasting drama, and greatly contributed in order to development of broadcasting drama. Accordingly, the purpose of this article is study on the broadcasting drama of KukYeon and KukYeon's importance in early broadcasting drama of korean. Broadcasting drama of KukYeon had quality and achievement following 1. KukYeon's broadcasting drama had interrelationship to their theatre works. Many broadcasting drama of KukYeon made based on theatre works. When compare to ago times, KukYeon's broadcasting drama will pointed out a large majority foreign drama. 2. KukYeon continuely participated in broadcasting drama in order to development of broadcasting drama, and presented superior broadcasting drama better than other group. 3. KukYeon contributed in order to upon up radio soap-opera. Tolstoi's 'Revival', Chekhov's 'The Cherry Orchard' is representative work in the soap-opera of early korean broadcasting. In short, KukYeon is very important group in early broadcasting drama of korean. So, we must know Kukyeon's importance in early broadcasting drama of korean.
演劇 演出 方法論에 있어서 變遷과 受容에 關한 歷史的 硏究
金賞敎 대구보건대학 1996 대구보건대학 論文集 Vol.16 No.-
과거에 비하여 오늘날의 연극에서 가장 큰 차이를 보이고 있는 것은 아리스토들적인 문학적 관점에서 공연 행위 또는 그 과정을 중시하는 공연 중심의 연극으로 흐르고 있음을 볼 수 있다. 그러나 연극의 행위가 공연 중심으로 흐르게 된 근본적인 이유를 우리는 텍스트에 대한 한계와 텍스트를 대신하는 연극을 추구했던 연출가들의 실험적인 작업을 관찰함으로써 가장 쉽게 알 수 있다. 그들 실험적 연출가들은 방법상의 차이에도 불구하고 한결같이 서구 연극의 지주적 역할을 한 텍스트에 대한 연극의 독자성 확보에 가장 큰 관심을 가지고 있었다. 이러한 측면에서 본 논문은 연극의 연출 법론상의 문제를 연극 역사의 발전단계와 접목시켜 연구하였다. In previous time, control of the rehearsals of play might be held by writer, as like Sophocles, Shakespeare and Moliere etc,. From the seventeenth through the nineteenth century, there was a long line of actor-manager who gave strong leadership to individual theatre directors though they were not called by that name. Among the most famous were David Garrick, William Charles Macready, Edwin Booth, Charles Kean. Nevertheless, the term director did not come into commom usage until the end of the nineteenth century. It is significant perhaps that the emergence of the director as a separate creative person coincides with important change which began to take place in society during the nineteenth century. Theatre historians are fond of saying that the director did not exist in the theatre prior to 1874, when a German nobleman, George Ⅱ, Duke of Saxe-Meiningen, began supervising every element of his theatrical production coordinating them into an integrated whole. In general, the definition of directing after Saxe-Meiningen has devided into two kinds. One is The Director as Interpreter, the other is The Director as Artist. Clearly, in the modern theatre, the function of directing gradually raise in side of The Director as Artist. So, the purpose of this article are the study on the directing history and phenomenon.