유치진의 숀 오케이시 수용에 대한 연구

김재석(Kim, Jae-Suk) 한국어문학회 2014 語文學 Vol.0 No.126

The aim of this paper is to clarify the difference, comparing The Study of Sean O’casey, Yu Chijin’s graduation thesis with Sean O’casey, A Dramatist and Former Laborer which published in The Joseonilbo, a newspaper and to explain the reasons why he accepted Sean O’casey and the characteristics of his acceptance. Yu Chijin’s graduation thesis consisted of two parts, Sean O’casey’s biological introduction and the special features of his performance. He wrote that since Sean O’casey supported Irish laborer classes actively, he came to suffer oppression from Irish nationalists. He also made much of Juno and the Paycock as the work which described well the reality of laborer who was in the sadness through farcical technique. In the article published in The Joseonilbo, Yu Chijin tried to explain Sean O’casey’s special features from theatrical people’s point of view who worked in colonized Chos?n. He explained that because Sean O’casey knew exactly Irish audience’s taste of drama, he gained high popularity and the farcical elements of drama became his distinguishing characteristics. He also appreciated that Sean O’casey made the most of the case which didn’t show in the stage and succeeded in intensifying the theme of drama. The reasons why Yu Chijin accepted Sean O’casey had difference according to the time of acceptance. He was interested in Sean O’casey from the anarchistic point of view when he studied in the university of Rikkyo in Japan. At that time he judged Sean o’casey as the writer with the same viewpoint as himself. After returning home, he gave attention to Sean O’casey’s eminent techniques of playwriting which insured easily the popularity of performance. It was because he thought of these techniques as the useful method of creation under the Japanese censorship in colonized Chos?n. The acceptance like this came to have great influence on his drama. So Yu Chijin’s ‘Romantic Realism drama’ which he insisted in the late of 1930s was his own creating techniques made from Sean O’casey’s characteristics.

『현당극담』 에 나타난 교화기관의 극에 대한 현철의 인식

김재석(Kim, Jae-Suk) 한국어문학회 2018 語文學 Vol.0 No.141

This paper is aimed at analyzing Hyeon Cheol’s argument on the educational organ drama in Hyeondanggukdam, Hyeondang’s discussion on theatre and examining that his being unable to work together the people in charge of modern drama was due to his theatre view that denied a kind of Ibsen’s Social problematic drama. Hyeon Cheol who applied Japanese early modern drama movement as it was excluded from theatrical world in colonized Joseon, which tells the fact that the characteristics distinguishing Japanese modern drama movement from Korean’s began to form in 1920s. Hyeon Cheol admitted that educational organ drama was needed, but he criticized strongly Ibsen’s Social problematic drama. His reasons for it was summarized in two things. First thing was that it was not ideal for playwright’s purpose to educate the audience to appear directly in the work and second thing was that educational organ dramas could not work because audience’s likes and dislikes on contents could be different according to their tastes. He insisted that the value of Shakespeare plays is higher than that of Ibsen’s as educational organ dramas. Hyeon Cheol’s argument in Hyeondanggukdam was one to accept Chubouchi Syoyo’s theatre view unchanged. Chubouchi Syoyo did not follow the control policy by Meiji government but searched for his own theatrical improvement. He asserted that the theater which was not ‘practical skill‘ should be Japanese modern drama and presented shakespeare drama as an example, criticizing Ibsen. Hyeon Cheol took the experience to take active part in Geijyutuja seriously, so he believed that Chubouchi Syoyo’s theatre view could be applied to colonized Joseon which had to face Japanese policy to control theater. The people in charge of performance leading the modern drama movement in colonized Joseon in 1920s was students studying in Japan. They were active in Geugyesulyeonguhoe and Towolhoe and their point of view on educational organ drama was different from Hyeon Cheol’s. The modern drama movement in colonized Joseon considered Ibsen’s Social problematic drama as a model and there was no place Hyeon Cheol could belong. In spite of this situation, he did not understand exactly educational organ drama which the society of colonized Joseon wanted after 3.1 Independence Movement. It was his limitation that he was trapped in premodern ‘art view for amusement.’

1970년대 대구지역 소극장 연극 연구

김재석(Kim Jae-suk) 한국어문학회 2009 語文學 Vol.0 No.104

1970s is the time that the little theater plays began in Daegue : at this time 14 Korean plays and 7 plays in translation performed here. The reason why these plays of Daegue in 1970s began to activate is that there were the support of YMCA, which was the group of citizens’ campaign representing Daegue. YMCA supported the Gonggan Theatrical Company’s little theater plays because they thought they were parts of citizens’ campaign. It also let Gonggan use its own small hall as a performance site. This kind of YMCA’s support played an important role in the little theatre movement in Daegue, since there was no theatre reserved only for little theatre plays at those days. The Korean plays of little theatre performed in Daegue of 1970s showed two inclinations. First, there were the plays which revealed the existential cognition on human existence and Yun Dae-sung’s Chulbal (The Start) was the representative work of this inclination. The intellectuals of Daegue in those days were interested in the existentialism, which made the theatrical people choose the plays of this kind. Most of them showed the vanity in life and it seemed that their helplessness under the Park Junghee’s dictatorial government was reflected in these works. As the second inclination, there were the works which had the critical perception on the political and social situation in 1970s. Like Lee Jae-hyun’s Elevator, they criticized the discontinuity of communication which the people felt in modern society and they had the critical meaning of the policy of government focused on only the economical development. They also criticized the dictatorial system and O Tae-seok’s The Baby Carridge of the Overhead Bridge dealt with the repressive rule and the citizens’ social fear as its result. The fact that the many plays criticizing the political and social situation in very conservative Daegue had performed is important ; the theatrical people’s will to resist to this dictatorial government through making use of the critical function of play can be read. It was possible for the theatrical people of Daegue to cooperate with YMCA. The theatrical people in Daegue of 1970s tried to follow the little theatre plays in Seoul, because they thought that it could be lessen the mistakes resulted from the lack of experience to choose the works performed in Seoul. But it was not necessary for the plays performed in Seoul to perform invariably in Daegue. This tendency to follow the little theatre plays in seoul resulted in the those of Daegue being subordinate to them. Besides they didn’t have enough thought of which plays Daegue needed, so they didn’t make enough efforts to find out the works which have the regional characteristics of Daegue and perform them. But to overcome this disadvantage that the plays of Daegue were subordinate to those of Seoul, the theatrical people of Daegue began to try in 1980s.

Inelastic Transient Dynamic Analysis of Two- and Three-dimensional Stress Problems by Particular Integral Boundary Element Method

김재석,박경호,Kim, Jae-Suk,Owatsiriwong, Adisorn,Park, Kyung-Ho Computational Structural Engineering Institute of 2008 한국전산구조공학회논문집 Vol.21 No.4

본 연구는 2차원 및 3차원 동적 탄소성 응력 해석을 위한 특수 적분해 경계요소법의 공식 개발을 제시한다 정적 탄성에 대한 기본식이 일반해를 구하는데 이용되었으며, 전체형상함수 개념을 이용하여, 변위율과 traction rate의 특수 적분해를 구함으로써 지배 방정식의 가속도 부분을 근사화시켰다. 시간 적분을 위하여 Houbolt 시적분 방법을 이용하였으며, Newton-Raphson 알고리즘을 이용하여 수치 연산을 행하였다. 제시된 공식에 따른 예제 해석을 통하여 그 방법의 유효성과 정확성을 설명하였다. The particular integral formulation for two(2D) and three(3D) dimensional inelastic transient dynamic stress analysis is presented. The elastostatic equation is used for the complementary solution. Using the concept of global shape function, the particular integrals for displacement and traction rates are obtained to approximate acceleration of the inhomogeneous equation. The Houbolt time integration scheme is used for the time-marching process. The Newton-Raphson algorithm for plastic multiplier is used to solve the system equation. Numerical results of four example problems are given to demonstrate the validity and accuracy of the present formulation.

형성기 한국 근대극에서 <김영일의 사>의 위치

김재석 ( Jae Suk Kim ) 한국연극학회 2013 한국연극학 Vol.1 No.50

This paper is aimed at examining the characteristics as a modern drama which Kim Youngileui sa (Kim Youngil`s Death) by Cho Myunghee has and finding out which position it can occupy in the history of Korean modern drama. Kim Youngileui sa (Kim Youngil`s Death) performed in 1921 has characteristics as a modern drama fully ; in this work the awareness of colonial modernity subject is obviously revealed and it also ensures reality. Cho Myunghee tried to come up with the direction towards which colonial modernity subjects go in the premodern situation of colony through Kim Youngil`s tragic death. He insisted that ideal society should be constructed through religious love, which shows that he was influenced by Tolstoy`s thought. The reality appeared in Kim Youngileui sa (Kim Youngil`s Death) could be acquired by creative method of naturalistic drama. Cho Myunghee took author`s viewpoint who was observing Kim Youngil`s life led in the conflict of pre modern society. He succeeded in consolidating the reality of drama by showing coherently the process of Kim Youngil death. Kim Youngileui sa (Kim Youngil`s Death) had a great influence on forming Korean modern drama and its performance played an important role in settling down the naturalistic drama in colonized Chos?n. The people watching the performance on tour of Kukyesulhyuphoe, the association of drama art took Kim Youngil, the protagonist`s death as the symbol of national death. The experience that only reproducing the situation of colonized Chos?n realistically on the stage could make the audience much impressed could caused the dramatists later to recognize the value of naturalistic drama certainly. The audience`s explosive reaction created by connecting Kim Youngil`s death with their sentimental emotion worked as the opportunity to expand the social drama, It is another effect to look upon a protagonist as a suffering one who went through agony in the conflict of colony. Considering this, it can be estimated that Korean modern drama made an actual start from Kim Youngileui sa (Kim Youngil`s Death).

일반논문 : 김우진의 표현주의극 창작 동인과 그 의미

김재석 ( Jae Suk Kim ) 한국문학언어학회( 구- 경북어문학회) 2008 어문론총 Vol.49 No.-

The aim of this paper is to analyze the value which Kim Woo-jung`s plays of expressionism have in the history of theater. His works of expressionism are Nanpa (ship reck) and Sandoeji (wild boar). He said that an artist should analyze every problem in reality throughly and then decide the direction of his own creation. With this perception, he began to explore the theories on the plays of expressionism and naturalism and tried to experiment on their possibilities with these two works. Nanpa and Sandoeji are the plays on the quester. The poet in Nanpa and the Cheo Won-bong in Sandoeji are suffering by the contradictions given to them. With the help of assistant, they clear grasp the fundamental causes and at last come to find out the new way they will go. Through these two works, Kim Woo-jin emphasized that human is the mortal being who doesn`t yield to the contradictory environment given to himself but have to overcome them. Kim woo-jin`s plays of expressionism have the value, in that they gave the individuality to the Korean plays of those days which were subordinated to Japan. He also obtained good results since he made the plays of future in colonized Korea be in accord with the currents of world play history through the plays of expressionism. But he failed to ascertain the fact that the plays of expressionism were the suitable for people in colonized Korea. It`s because that the contradictory environment which the poet in Nanpa and the Cheo Won-bong in Sandoeji faced were different that of the colonized Korea. It was also the limitation which Kim Woo-jin could not help having when he created the works of expressionism under the Japanese censor system. Because he knew this limitation, it seemed that he created the plays of naturalism at the same time.

한국과 일본의 자연주의극 성립에 대한 비교 연구

김재석(Kim, Jae-suk) 국어국문학회 2012 국어국문학 Vol.- No.162

This study is aimed at grasping the characteristics of Korean and Japanese naturalism drama formed at the turning point of modern times and analyzing them in the viewpoint of dramatical history. The special features of Western naturalism drama at the formation of modern drama are the challenge to taboo of the times and reinforcement of the reality of drama. The important works of Japanese naturalism drama were Chubouchi Syoyou’s Odongnip hana and Simamura Hogetu’s Buhwal. Odongnip hana caused the audience to sympathize through the suffering protagonist and strengthened the dramatic reality by cutting off writer’s intervention but it avoided connecting its theme with the social problems of the those days. These features of Odongnip hana were adopted into Buhwal and came to become the characteristics of ‘Japanese style naturalism drama’. During the formation of naturalism drama in the colonized Joseon, Lee Kwangsoo’s Kyuhan, Choi Sungman’s Hwanghon, and Cho Myunghee’s Kim youngileui sa were important works. Kyuhan and Hwanghon criticized the premodern way of thinking of those days’ society through the evil effects of early marriage by match making. These works caused the audience’s sympathy using the suffering protagonist and reinforced the dramatic reality by means of explaining the protagonist’s inner state. But they also avoided linking their themes with the major contradictions of those society, which explains that Korean drama was influenced by ‘Japanese style naturalism drama’. Kim youngileui sa treating the self studying Korean student’s death in Japan had the characteristics of ‘Japanese style naturalism drama’, but it had special experience that it caused the criticism to reality when Korean audience in the colonized Joseon met Kim Youngil, the protagonist’s death. It was the characteristic of ‘Japanese style Naturalism drama’ that it paid attention to the reinforcement of dramatic reality but its themes avoided connecting with important contradictions of those society. The spirit of challenge, the important feature of Western naturalism drama appeared weakened in ‘Japanese style naturalism drama’, which came from Chubouchi Syoyou’s ant-utilitarian point of art view. Simamura Hogetu advocated the new naturalism, reinforcing Chubouchi Syoyou’s naturalistic point of view in the theoretical aspect. The naturalism in the colonized Joseon were influenced by ‘Japanese style naturalism’ but the experience from the performance of Kim youngileui sa awaken the importance of challenge spirit and the awareness that the people involved Singuk should treat the major contradictions of colony to them. After that, through the works like Leeyoungneo, the special features of naturalism drama in colonized Joseon which intervened actively in the social problems of those days began to be secured. After all Japanese naturalism became strikingly weakened, passing 1910s, while the Korean naturalism drama in Colonized Joseon grew strengthened more and more in 1920s.

〈황혼〉의 근대성 연구

김재석(Kim Jae-suk) 한국어문학회 2007 語文學 Vol.0 No.98

Choi sungman’s Hwanghon(Twilight) was published in 1919. In this work, he insisted that the society of those days should need change but its pre modern obstinacy held it back. In Hwanghon, Kim insung killed himself in the end, which revealed the pre modern obstinacy of those days. In other words, he wanted to divorce his wife to search for his true love but he had to face his father’s strong objection only to fail. He left home for his lover but he suffered mental panic and at last he suicided. In Hwanghon the dramatic technique of discussion is used many times among characters : on individualism in act Ⅰ, on the intellectuals' roles in 1910s in act Ⅱ and on the conflict between modernism and feudalism in act Ⅲ. Though this technique of discussion is the easy way to give the dramatist’s opinion, it also has the problem that the author’s opinions can be revealed too strong. Hwanghon has the important meaning in modern dramatic history, in that it dealt with the formation of modern subject. Especially the fact that the individualism was represented as the central ideology in modern society must be highly estimated. But it has the limitation that the author tried to express this individualism as modern ideology through the matter of divorce. If the character who is going to marry in very traditional way resisted to it, his resistance could have more social meaning. In this term, it seems to be difficult to say that Hwanghon is the starting point in Korean modern drama.

개화기 연극에서 고전극 배우의 위상 변화와 그 의미

김재석(Jae Suk Kim) 한국문학언어학회( 구- 경북어문학회) 2001 어문론총 Vol.35 No.-

1920년대 카프 계열 극단의 번역극 공연인식과 그 의미

김재석(Kim, Jae-suk) 한국어문학회 2015 語文學 Vol.0 No.129

KAPF was founded in 1925 and the two companies, Yeomgunsa and PASCULA played a central role in its foundation. They had a high interest in drama but they did not perform themselves. The members belonged to the companies were interested in Anton Chekhov and Lady Gregory. They had little difference from theatrical people participating in modern drama movement of colonized Choson. The amateur theatrical people connected with laborer union and peasant union performed the dramas in terms of class. KAPF didn’t make theatrical department inside because of insufficiency of man power. KAPF had the aim of legal theatrical performance permitted by Japan. The theatrical company, Bulgaemi in which the leading people of KAPF took part were organized in January of 1927. Though it belonged to KAPF, Bulgaemi had no difference from the other theatrical companies performing modern dramas in colonized Choson in the aim and the way of management. Bulgaemi chose Anatoly Lunacharsky’s Liberated Don Quixote as the first work of performance, but it could not pass Japanese censorship of performance. As a result, the theatrical company disappeared. This work was the wrong choice that they didn’t consider Japanese censorship and it also was not suitable for the aim of Bulgaemi. Jonghabyesulhyeopoe organized in July of 1927 had the aim of performance of enlightenment drama. In the front side, it had many people who could participate in performance directly. Moreover it integrated with Baengnyanghoe and collected many actors, so its capability of performance were reinforced. It prepared A Marriage by Anton Chekhov and He who gets slapped by Leonid Andreyev, but could perform He who gets slapped because of time shortage. The performance was successful and the acting of actors was much praised. However, this work had the problem that it had little viewpoint of class that KAPF drama should have. It was because they chose the works which could be passed the Japanese censorship. The criticism arose on that it could not perform the translated dramas which could the model of a proletarian drama. In the center of criticism were mostly the people belonged to Tokyo branch of KAPF and they intended to introduce an itinerant theatrical troupe to colonized Choson. It was not the way of waiting the audience in the theater but the way of going to the field of labor and peasant and performing. But, in the colonized Choson, an itinerant theatrical troupe also had to pass Japanese censorship, so it could not be a suitable alternative. Through the experience of performance of KAPF theatrical companies, it was ascertained that it was difficult to perform ideal proletarian translated dramas in theaters as long as Japanese censorship existed. It could be the opportunity that KAPF actively tried to perform proletarian creative dramas in 1930s.