鳥足文土器의 變遷樣相

崔榮柱(Choi, Young-joo) 한국상고사학회 2007 한국상고사학보 Vol.55 No.-

鳥足文土器는 토기 동체면에 새 발 모양의 문양을 타날한 토기를 말한다. 본고의 목적은 한국 중서부이남지역과 일본에서 출토되는 조족문토기에 대한 검토를 통해 조족문토기의 시기적인 변천과 지역적인 특성을 알아보고자한다. 청주 신봉동고분군과 나주 반남·복암리고분군의 유물공반관계를 통해 교차편년을 실시하여 크게 3개의 분기로 설정하고 다시 세분하여 6개의 소기로 구분된다. 중서부지역권은 4세기 중·후엽~5세기 중·후엽으로 한성백제 단계이다. 중서부지역권은 Ⅰ-1기는 한성 백제양식토기가 부장되고, 조족문토기가 출현하는 시기이다. Ⅰ-2기는 석곽묘가 출현하고, 한성 2기양식토기기종(개배, 광구장경호)의 부장이 확대되는 시점에서 조족문토기는 발전된 양식으로 변모한다. Ⅰ-3기는 석실분이 출현하고 토기 기종과 무구류와 마구류가 백제화된 시점으로 조족문토기는 다양한 요소를 보인다. 이후로 이 지역에서는 조족문토기가 소멸된다. 이 시기에는 일본의 須惠器系 개배가 확인되고, 조족문토기의 기종양식이 비슷한 점으로 미루어 보아 이 지역 세력들의 일부가 백제를 피해 일본으로 건너갔을 것으로 추정된다. 남서부지역권은 5세기 후엽~6세기 중엽으로 웅진백제 단계이다. 남서부지역권 Ⅱ-1기는 대형옹관묘 존속, 영산강식석실분의 등장과 장고분의 출현 등으로 보아 마한의 독자성이 인정되고 조족문토기는 주로 고분의 주구에서 출토되며 단경호 및 조리와 관련된 기종이 확인된다. Ⅱ-2기는 백제계 유물의 부장이 확대되고 관식이 확인되는 시점으로 조족문토기는 장제의례행위와 관련된 기종이 확인된다. 이 시기에 일본의 조족문토기는 주로 5세기 대에 생활유구에서 조리용 토기들이 확인되며, 5세기 후엽에서 6세기 중엽에는 주로 고분에서 단경호가 출토된다. 이런 양상으로 미루어 4세기 말~5세기 전엽 부터는 마한의 사람들이 일본으로 이주했을 가능성이 높은 것으로 보인다. 6세기 중엽 이후는 조족문토기가 소멸되는 단계이다. Chochohmun pottery is the pottery with bird's footprint shape on the surface which was imprinted by paddling technique. The purpose of this paper is to trace temporal change as well as spatial variations of the characteristics in Chochohmun pottery, whilch has been discovered in southern midwest Korea and Japan. Tumuli in Shinbong-dong, Chungju and in Bannam and Bokam-ri, Naju, can be divided into three major periods and into six minor stages through relative cross-dating. Midwest area belongs to the Hangsung Baekje style pottery appeared at the Ⅰ-1 stage and earliest Chochohmun pottery was included in it. At the Ⅰ-2 stage, the outer stone coffin appeared, and the burial of the Hangsung stage 2-style pottery characterized by lid and bowl set and large-mouth and short-nect jar expanded. In this period Chochohmun pottery was changed into the developing style. At the Ⅰ-3 stage, as stone chamber tomb appeared and the pottery, the weapons and the harness were changed into Baekje style, various types of Chochohmun pottery showed up. After this time, Chochohmun pottery disappeared in this area. However, at this time, the lid and bowl of Japanese pottery tradition was found and the style of Chochohmun pottery became as same as that of Japan. Therefore it can be presumed that some powerful group of people carrying Chochohmun pottery moved from Baekje to Japan. Southwest area belongs to the Ungjin Baekje period in between late fifth and mid sixth centuries. At the Ⅱ-1 stage in southwest area, Mahan's originality showed up in the construction of large jar coffin tomb, and the appearance of Young-san river style stone chamber tomb, and the emergence of Jang-go tomb. At this period, Chochohmun pottery were found in the circular moat of the tombs, and short-neck jar and culinary potteries were found. At the Ⅱ-2 stage, the burial of Baekje style relics expanded and coffin ornaments appeared. In this stage Chochohmun pottery, which was related to funeral ceremony, was found. During this period in Japan, Chochohmun pottery was found in culinary potteries in residential remains of fifth century, and short-nect jar of late-fifth and mid-sixth centuries were found in ancient tombs. These indicate the movement of Mahan people into Japan from early fifth century. After mid sixth century belongs to the disappearing stage of Chochohmun pottery.

간접 광대전에 의한 서브 마이크론 입자의 단극하전 특성

최영주,김상수,Choi, Young-Joo,Kim, Sang-Soo 대한기계학회 2003 大韓機械學會論文集B Vol.27 No.6

A new unipolar aerosol charger was developed by using an indirect photoelectric charging. The charger consists of two coaxial tubes, the inner UV lamp wrapped with stainless mesh and the outer Al cylinder. In this study, the effects of flow rate, particle size, and electric field were examined to search the optimal charging conditions with experimental and numerical methods. Monodisperse NaCl particles were fed into an annular space and the particles were charged by negative ions generated from Al plate exposed to the UV light. According to experimental results, the average number of elementary charge on particles increases from 2.5 to 5.5 as particle size increases from 50nm to 130nm at 2.5 L/min and 100V. The average number of elementary charge on particles was maximized at 25V as the electric potential between the stainless mesh and Al plate was varied from 0V to 400V.

안구운동장애를 동반한 눈꺼풀처짐 환자에서 실리콘줄을 이용한 이마근걸기술

최영주,김윤덕,Young-Joo Choi,Yoon-Duck Kim 대한안과학회 2008 대한안과학회지 Vol.49 No.4

Purpose: To determine the efficacy of frontalis sling operation with silicone rods in patients with compromised corneal protective mechanisms. Methods: The authors retrospectively studied 6 consecutive patients (7 eyelids) with severe blepharoptosis with poor ocular motility who had undergone frontalis sling operations using silicone rods. Results: Preoperative diagnoses included third nerve palsy in 4 patients, double elevator palsy in 1 patient, and suspicious oculopharyngeal muscular dystrophy in 1 patient. With a mean follow‐up of 27.7 months, a good final lid height was achieved in all 7 eyelids. Mild exposure keratopathy occurred postoperatively in 3 patients. During the follow-up period, no other significant complications, such as extrusion of the sling or infection, occurred. Conclusions: Silicone rods are effective and safe materials for use in frontalis suspension in treating blepharoptosis in patients with inadequate or absent Bell’s phenomenon, resulting in poor eye protective mechanisms associated with an increased incidence of corneal exposure. J Korean Ophthalmol Soc 49(4):548-554, 2008

아파트 거주자의 커뮤니티센터 시설 및 프로그램 만족도 -광주광역시 아파트를 중심으로-

최영주,김미희,Choi, Young-Joo,Kim, Mi-Hee 한국주거학회 2009 한국주거학회 논문집 Vol.20 No.5

The purpose of this study is to suggest the design guide-lines for the community center through the analysis of users' satisfaction on the community facilities and programs. This study was approached by using theoretical investigation, a field survey and a questionnaire survey. The field survey was analyzed the current situations by conducting a housing managers' interview and viewing a blueprint of the community center. The questionnaire survey was tested by examining five different apartment complexes of over 500 households in Gwang-ju, which were all built between 2005 and 2007, 268 users were interviewed for the questionnaire survey. After all the questionnaires were collected, the data was coded and analyzed using the SPSS 12.0 program. Statistics used from data analysis were frequencies, means, standard deviations, one-way ANOVA, t-test, and correlation analysis. To conclusion, the satisfaction and usage of community facilities and programs shows higher for the indoor exercise/sports; such as, yoga, golf, and health programs than others. There is no strong correlation between the location and layout of community facility in apartment complex. However, this study could be a reference data when planning a new community center where plans to have community facilities and programs to satisfy its future users.

안와 병변에 대한 감마나이프 방사선수술

최영주,이정일,김윤덕,Young-Joo Choi,M,D,Jung-Il Lee,M,D,Yoon-Duck Kim,M,D 대한안과학회 2008 대한안과학회지 Vol.49 No.4

Purpose: To evaluate the effectiveness and safety of treating orbital lesions with gamma knife radiosurgery (GKS). Methods: Between April 2004 and January 2006, ten patients who had orbital tumors or vascular lesions and who underwent GKS were included in this retrospective study. Results: Ten patients with orbital lesions were treated with GKS. The group of orbital lesions consisted of 5 meningiomas, 2 schwannomas, 1 cavernous hemangioma, 1 arteriovenous fistula, and 1 adenoidcystic carcinoma of the lacrimal gland. The most common symptom was proptosis. The tumors were located at the orbital apex in eight patients, and five of these patients were treated with fractionated stereotactic radiosurgery. The mean cumulative marginal dose was 17.0 Gy (12-20 Gy), and the mean cumulative maximal dose was 30.8 Gy (16.2-40.4 Gy). The follow-up period ranged from 3 to 25 months (mean 13.9 months). During the follow-up period, magnetic resonance imaging revealed a decrease of tumor volume in 3 patients with symptomatic improvement. In two patients, tumor volume increased. No radiation-induced optic neuropathy, retinopathy, or cataract was observed in any of the 10 patients during the follow-up period. Conclusions: Gamma knife radiosurgery is an effective and relatively safe treatment when orbital lesions have a high risk of neurosurgical deficits with surgery, when they recur after incomplete resection, or when complete removal of tumor is impossible.

百濟 橫穴式石室의 埋葬方式과 位階關係

Choi Young Joo(崔榮柱) 한국상고사학회 2014 한국상고사학보 Vol.84 No.-

이 글에서는 백제 횡혈식석실의 매장방식과 위계관계를 시기별로 그 특징을 살펴보았다. 백제 횡혈식석실의 매장방식은 Ⅱ기부터 장식목관이 사용되었으며, Ⅲ기부터는 「들고 나르는 관」이 사용되었다. 매장인원수는 Ⅳ기부터 1인을 매장하는 경향이 강해지며, 현실 폭이 130㎝ 이하(FⅩ형식) 석실에서 주로 확인된다. 이는 매장의례의 관념과 절차가 변화되어 나타난 것이다. 장신구를 비롯한 부장품의 부장양상을 보면, Ⅲ기까지는 착장형 장신구, 중국자기에 의한 사여체제가 이루어지다가 Ⅳ기부터는 은화관식과 관모틀에 의한 16관등제와 의관제도가 성립되어 지방으로 확산된다. 위계관계는 석실(형식ㆍ규모), 장식목관, 장신구, 중국자기, 장식대도, 금속품의 조합으로 결정되며, 시기별로 5단계로 나누어진다. 한편, 능산리형석실의 규모에 의한 위계는 3단계로 나누어지고 석실은 위계가 높아질수록 규모가 커진다. 또한 능산리형석실 규모가 대형, 정형화, 가공판석 사용, 부여에 가까울수록 화려한 Ⅲ형식의 은화관식이 출토되며, 피장자의 위계는 높다고 판단된다. 이렇듯 백제 횡혈식석실의 매장방식과 장신구의 부장양상 등으로 본 획기는 Ⅳ기로, 이 시기의 변화는 백제가 사비로 천도한 후에 오방제의 실시와 율령체제에 의해 규범화(관등제 및 의관제 등)된 상황 속에서 나타난다. This study looked into period characteristics about the burial method and hierarchical relationship of stone chamber tomb in Baekje. About the burial method of stone chamber tomb, the ornament wooden coffin was used from Ⅱ period, and 「carrying style coffin」 was used from Ⅲ period. About the number of person to bury, one person was mainly buried from Ⅳ period and it is usually discovered in a burial chamber which is below 130cm wide(FX type). This showed that the notion and process of burial ceremonies were changed. To study burial aspects about burial goods including ornaments, the giving system by attached style ornaments and Chinese porcelains was conducted until Ⅳ period and 16 official rank and attire system by silver diadem ornament and official hat frame were established from Ⅳ period and it spread to the local area. Hierarchical relationships were decided by combinations of stone chambers (form and scale), ornament wooden coffins, Chinese porcelains, decorative swords, and metal products and these were divided into 5 levels by time period. On the other hand, the hierarchy by the scale of the stone chamber tomb of Neungsanri(陵山里) type was divided into 3 levels and the scale of stone chamber tomb became bigger if the hierarchy became higher. And the stone chamber tomb of Neungsanri type were large scales, standardized, using processed flagstone, the more glittering and Ⅲ-typed silver diadem ornaments were excavated and it means the buried had a high hierarchy. In this way, by studying the burial method of stone chamber tomb in Baekje and burial aspects of ornaments, a remarkable period was Ⅳ period and changes of this period appeared in conditions of five-bang system enforcement and the standardization by law systems (official rank and attire system) after Baekje transferred the capital to Sabi.

우스터 그룹(Wooster Group)의 다이올로직 드라마투르기

최영주 ( Young Joo Choi ) 한국연극학회 2016 한국연극학 Vol.1 No.58

우스터 그룹은 80년대 포스트모더니즘 연극의 아이콘으로 간주되어 왔고, 한 동안 해체주의 이론을 전유하며 논의되어 왔다. 그러나 우스터 그룹의 공연을 해체주의 이론 안에서만 살피는 것은 우스터 그룹의 공연을 불가해하고 불안정하며 무정부적 혼돈으로 간주하게 함으로써 공연을 통해 그들이 제기하는 사회적 정치적 이슈를 간과할 가능성이 다분하다. 우스터 그룹이 아방가르드의 죽음을 통과하여 여전히 사회적 정치성을 띤다면, 그것은 무대와 관객 사이에 사회적 의미가 소통되고 있다는 것을 반증한다. 이 글에서 논의하고자 하는 것은 우스터 그룹의 공연 구성 방식에 관한 것과 함께 이를 통해 생성되는 담화 행위이다. 본문 1에서는 우스터 그룹의 공연 구성 방식을 탐색하기 위해 다이올로직 드라마투르기에 대한 논의를 전개하였다. 서로 다른 미디어의 콜라주와 어셈블리지로 구성된 우스터 그룹의 공연은 고전을 텍스트로 하되 대사를 과감하게 축소하고 변형시키면서 다른 미디어의 개입을 활성화시켜 텍스트와 미장센 사이의 균열을 과감하게 촉발한다. 이를 살펴보기 위해 다이올로직 드라마투르기의 관점에서 본문 1은 공연의 구성 요소를 ``텍스트와 텍스쳐``, ``공간과 공간성``, ``비디오의 이미지와 공연이 어떻게 담화를 만들어내는지`` 세 개의 항목으로 나누어 분석하였다. 본문 2의 < 브레이스 업! >에 대한 분석에서는 본문 1에서 구성한 세 개의 논점을 중심으로 작품을 분석하였다. 먼저 텍스트와 텍스쳐에서는 리허설 과정에서 공연의 토대가 된 < 세 자매 >가 어떻게 ``가이닌 극단이 < 세 자매 >를 공연한다``는 콘셉트 아래 배우와 연기, 이미지, 음악과 음향으로 상호작용의 텍스쳐를 만드는지에 대해 살펴보았다. 공간과 공간성의 부분에서는 콘셉트를 토대로 리허설 과정에서 의도하였던 공간 외에 어떻게 공간성이 발생하는지, 무대 공간과 관객이 상호작용하여 구성한 공간성을 통해 어떤 담론이 발생하는지를 살펴보았다. 마지막으로 라이브 공연과 비디오가 어떻게 상호 작용하여 담론을 구성하는지를 살펴보았다. 특히 미디어가 표면에 드러내지는 않지만 함축적으로 내포한 서브텍스트의 기능을 분석하여 이 공연이 궁극적으로 관객에게 소통하고자 하는 담화의 가능성을 탐색해보았다. Since its beginning in late 1960s until the mid-1980s , American Avant garde theatre has greatly influenced contemporary theatre beyond American borders, worldwide. Among them, this paper has chosen the Wooster Group and it examine how they have weaved their theatrical works especially their own dramaturgy. In this, I define the use of dramaturgy as weaving and composing a methodology of theatrical materials to create a semantic structure of theatrical performance. The reason why I have chosen the Wooster Group for my research is because they seemed to get over Richard Schechner`s pronouncement of American avant garde theatre`s "decline and fall". They pursued the direction, as Schechner prescribed, whereby avant garde theatre should turn to, "going beyond the boundaries, to break new ground, where performance is used not only to entertain (to pass the time) but also to serve community-making or analytic or radical revolutionary purposes." Exploring their own methodology, they could bridge neo-avant garde theatre and contemporary post-dramatic theatre as well as contemporary theatre. My paper explores how they got past avant garde`s limitations, achieved the precedence for contemporary aesthetics, and wove untrodden theatrical methodology without sacrificing political implications. To do this, I focus on how they pioneered weaving contemporary dramaturgy that could activate interactions between the different media. But, to get over the aesthetic-oriented media theory in theatre studies, I adopt the concept of Mikail Bahktin`s dialogic imagination to explore the Wooster Group`s dramaturgy, which was imbued with potential discourse. Based on dialogic dramaturgy, I divide their performance making into three constituents of performance: the relationship between text and texture, space and spaciality, and the media`s subtext and inter-text function. First, I lookinto how they dealt with western classics free from textual authority and transformed them into a performative texture. They resisted univocal textuality and dispersed them into texture with other materials, while inducing other texts for the nonlinear structure. Second, I analyse their use of space as they perform special potentials according to their space-turned concerns. They preferred minimal and architectural design and framed the mise-en-scene with its possible spaciality. Lastly, I focus on the possibility of the media with two functions of subtext and inter-text, both of which are imbued with the intention and ideas of the Wooster Group`s dramaturgy. On the one hand, the rebellious attitude against image culture was founded in their dramaturgy as an overall subtext of their itinerary. On the other hand, their use of video and film broke the rules by warping or extorting the images. With the arguments above, my paper tries to examine how multimedia theatre could trigger critical ideas and views accompanying text and technology as in Brace Up!.

삼국 · 통일신라시기 광주 중심지 연구

최영주 ( Young-joo Choi ) 호남사학회 2021 역사학연구 Vol.83 No.-

본 논문은 광주지역의 삼국시기 중심지와 통일신라시기 무진주의 개발 시기와 양상을 살펴보았다. 광주지역에서 마한 시기에 해당된 유적은 3세기 중엽에서 6세기 전엽으로 편년된다. 유적은 하천의 충적지와 구릉에 입지하여 농경을 기반으로, 토기·제철·옥 등을 생산하는 수공업적 성격의 복합유적에 해당된다. 그중 하남동유적은 5세기대에 의례적인 성격을 보이는데 구사오단국의 중심지에 해당하며, 백제 동성왕의 무진주 친정의 대상지이었을 것으로 보인다. 백제에게 병합된 이후의 사비기에는 광주천 일대의 배후지를 이용하지 않은 것으로 보인다. 각화동과 운림동고분군의 입지를 통해 고분 관련 집단의 세거지는 산사면 아래의 구릉지대에 있었을 것으로 추정된다. 무진주는 현재 금남로 일대로 1917년 지적원도에서 그 형태를 가늠할 수 있다. 조선시대 기록의 무진도독성은 무진주의 방리와 관청을 감싸는 나성으로 장방형의 형태로 추정된다. 범위는 동쪽과 서쪽은 동계천과 광주천으로 구분되며, 남쪽은 학동, 북쪽은 누문동의 경계로 보인다. 1방은 155m~160m 정도로 보이며, 장축(남북)은 13방~14방으로 약 2,400m 정도, 단축(동서)은 4방~5방으로 약 700m~1,000m 정도로, 전체 규모는 약 6,500m 정도로 추정된다. 무진주는 사벌주와 경주 도심 개발 양상을 통해 보면, 늦어도 7세기 후엽~8세기 초에 정비되기 시작하며 배후산성인 무진고성이 축조되기 이전인 8세기 후엽에 완료된 것으로 보인다. This thesis examines the center of the Three Kingdoms period in Gwangju and the development period and aspects of Mujinju during the Unified Silla period. The remains of the Mahan period in Gwangju are compiled from the middle of the 3rd century to the beginning of the 6th century. The remains were located on the alluvial land and hills of the river and correspond to the complex remains with the character of a handicraft industry that produces earthenware, iron, and jade based on agriculture. Among them, the Hanam-dong remains showed a ceremonial character in the 5th century, and are believed to have been the center of the Gusaodanguk, and it is likely that it was the site of the parent's home of the King Dongseong of Baekje which was located in Mujinju. It seems that the hinterland of Gwangjucheon Stream was not used during the Sabigi period after the annexation of Baekje. Based on the location of the tombs in Gakhwa-dong and Unrim-dong, it is presumed that the settlements of the tomb-related groups were located in the hilly area below the mountain slope. Mujinju is currently located in Geumnam-ro, and its shape can be estimated from the 1917 cadastral map. Mujindodokseong Castle in the records of the Joseon Dynasty is estimated to be the outskirts of the fortress surrounding the Bangri and government offices of Mujinju and in the shape of a rectangle. The range is divided into Donggyecheon Stream and Gwangjucheon Stream in the east and west, and Hak-dong in the south and Numun-dong in the north. One bang is estimated to be about 155m to 160m, and the long axis (north and south) is 13 to 14 bangs, about 2,400m, and the short axis (east and west) is 4 to 5 bangs, about 700m to 1,000m, and the overall scale is estimated to be about 6,500m. Looking at the development of Sabeolju and Gyeongju downtown, Mujinju seems to have begun renovation in the late 7th or early 8th centuries at the latest, and it seems to have been completed in the late 8th century, before the construction of Mujingoseong, a mountain fortress in the back.

디바이즈 공연 방법론과 미학에 관한 이론적 고찰

최영주 ( Choi Young-joo ) 한국연극학회 2017 한국연극학 Vol.1 No.62

본고는 공동 창작이나 디바이즈 제작 방식이 국내외를 망라하고 공연계에 확산되고 있는 상황에서 이에 대한 이론적 논의가 소통되고 있지 않다는 점에 주목하였다. 디바이즈란 공동 창작의 과정에서 퍼포먼스 양식의 표현 가능성을 탐색하기 위한 실천 방법이며, 이러한 사실에 초점을 맞추어 디바이즈를 관습에서 벗어나 새롭고 직관적이며 즉흥적인 표현 방식의 개발 전략으로 보고자 한 것이다. 이를 통해 본고는 비록 제한적일지라도 다양한 사례를 통해 반복되어 발견되는 방법론을 분석하여 일종의 플랫폼을 제시하는 것이 이론과 실천을 매개하는 하나의 방법이라고 보았다. 본고는 이러한 목적으로 시도된 디바이즈 제작 방법에 관한 하나의 담화라고 할 수 있다. 먼저 1장에서는 두 용어가 지닌 개념을 살펴보았다. 그리고 나서 2장에서는 두 용어를 중심으로 이루어진 역사적 양상에 주목하였다. 3장에서는 디바이즈의 방법론을 고찰하고, 태도와 전제, 리서치와 디자인, 리허설과 디바이즈 하기의 순차적 과정을 살펴보았다. 4장에서는 예술로서의 디바이즈를 구성하는 요건을 미학적 측면에서 분석하면서 창의적 발상과 연극성, 형식적 총합과 몽타주, 시적 승화로 나누어 분석하였다. Regarding the situation the numbers of the devised theatre are unprecedently increasing, it is noteworthy that its theoretical discourses are surprisingly scarce in Korea. This paper aimed to provide a methodology on how to advance the process and how to achieve an artistic value in devised theatre. Of course, devising itself is free activity as a creative and spontaneous intuition is, and rejects to be systemized. Nonetheless, it would be at least possible to find the recurrent method or strategy of the process in the individual production of devised theatre in spite of the limits. To construct a devising methodology with an aesthetic value, my paper followed four steps of research. The definition, the historical background, the methodology, and the aesthetic value. Firstly, I started with the definition that both collective creation and devised theatre. Then I could grasp that the collective creation or the devised theatre invited the members as subjects for their creative process. Also, I paid attention to the current situation that devised theatre and collective theatre have been using at the same time. Secondly, I tried to give an overview of the historical development of them. I found the terms of devising were frequently being used as the director participated in the rehearsal process with a text. In this, I proposed that devising could be a strategy to improve creative impetus in theatre production. Thirdly, I suggested how to proceed the devising process with the resources, which were collected from the former practices: the pre-requiring attitudes for devising, research and design, rehearsal and devising, the open rehearsal and first performance. I also emphasized the essentials of each process. Lastly, I suggested devising conditions are required to get artistic value. The creative thinking, the theatricality, the formal organic completion, the montage, and poetic sublimation are the four aspects to it. As mentioned above, I aimed to construct a methodology for the devised theatre. This would be deductive reasoning and arbitrary in some respect when considering the devising is getting more diverse and more complex. However, it can not be doubted that this study would add fuel for the practitioners to find more creative process based on this already explored road.

위안부 문제의 연극적 재현 - 한 , 일 , 미의 연극텍스트를 중심으로 -

최영주(Young Joo Choi) 한국연극학회 2002 한국연극학 Vol.0 No.18

In the late 1980s, the Japanese military sexual slaves broke the silence after 50 years have passed. Until then, they were erased in the history. No interest, research, discourse had been launched about them. When they declared they had been ‘comfort women,’ they inscribed themselves in the history as the subject. Since then, there were many kinds of social movement, academic research, and governmental activity to restore their human rights, to compensate for the failed lives, and to recover the soiled names. Nonetheless, the ‘comfort women’ still remained in the margins of this society as the national shame as well as hers. To correct the prejudice against the ‘comfort women,’ this paper aims to find the possibility to represent them in a positive aspect. For that purpose a joint production of Korea and Japan, Liar Youngja, Theatre Bitnuri`s Japan Military Sexual Slaves, and Lavonne Mueller`s Splendid Hotel are selected. Liar Youngja lingers between the national interests of Korea and those of Japan;. especially, the performance blurrs who is the assailant by assigning the role to a Korean actor. Theatre Bitnuri`s Japan Military Sexual Slaves represents the female subject in the guise of national discourse. In this, the ‘comfort women are represented as past beings. As a result the ‘comfort women’ are isolated from the audience`s regards. In a third or western person`s gaze Lavonne Mueller`s Hotel Splendid proves a kind of possibility to represent them to the feminist aesthetics. The sisterhood has been developed during the plot achieving a solidarity across the racial diversity. Kamikaze soldier is also included into the list of war slave victims in the name of brotherhood. Consequently, the dialectic of the colonial/the imperial, Korea/Japan, men/women, soldier/comfort woman, and object and subject undergo the process of subversion transpiring in a third space. The issues raised from the above argument are naturally led into the vital issues of the comfort women` should be represented within national discourse, or whether a universal feministic representation is possible. Of course, Splendid Hotel can not be the right answer for this question. Its delimitation lies in the play`s apparent gesture to generalize the oriental culture as well as to neutralize the difference between the eastern and western women. Besides American soldiers appeared in the center as a victor while the ‘comfort women’ marginalized to the brim of history. Nonetheless, Splendid Hotel shows some merits to represent ‘comfort women’ in positive respect. First, they should not be ignored as past history but should be represented as present reality. Secondly, they should be represented as subjects. Thirdly, the plot needs to be diverse and esthetic not to be regarded as ‘other’. Finally, to deconstruct the dialectic of subject/object, the imperial/the colonial, Japan/Korea, men/women, soldier/comfort women, ‘comfort women’ should be placed in a third space, thereby disrupting the dichotomy and focusing on the individual experiences.