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이미원 한국연극학회 1998 한국연극학 Vol.11 No.1
Hyunsuk Park is an important playwright as she is one of the first Korean woman playwrights and has led them ever after. Since she published her debut play of 「A Plea (Hangbun)」, Hyunsuk Park paid attention to love and family affairs. Her subjects touched on women's interests, but she was never conscious of feministic views. Though she indirectly accused patriarchal society of oppressing women, she kept conservative views to interpret women's matters. She believed an ideal woman to forgive with generosity and to love infinitely. Hyunsuk Park was also concerned with the devided situation of Korea. Since she fled in her youth from North Korea by herself, she missed her widowed mother all the time. Therefore, her plays that pay attention to society, highlight the pains of the divided Korea and express her wishes for unification. This essay selects ten plays out of eighteen plays of Hyunsuk Park. The first play, 「A Plea」, dealing with the love-hate relationship between man and wife, expresses her main subjects and interests of the plays to come. 「Because of Love (Sarangul Chajaso)」 describes a scapegoat of the ideological confrontation between the North and the South. Because the heroine travels back and forth between the South and the North following her lover, she is stigmatized as a spy. 「A Woman(Yoein)」, her first full-length play, deals with a couple of melodramatic love triangles, focusing on the heroine's psychology. 「The World is a Magic Glass (Sesang un Yogikyung)」 is a satrical fable of political election, but also exposes the false relationship between man and wife. 「A Masquerade (Kamyon Mudohoe)」 boldly describes a housewife's debauchery. It ends well only because the masked lover turns out to be her husband. In her later plays of 「The Wonderful Inheritance (Kue Chanranhan Yusan)」 and 「The Mother of Nation (Chokuk ue oumoni)」, the playwright definitely broadens her interests toward modem Korean history. 「A Women's Fortress (Yeoja ue Seng)」 and 「The Return Trip (Hoero)」 are typical family melodramas, including love triangles and forgiveness. It is also noticeable that 「The Return Trip」 raises the problem of senile dementia, which even becomes a very recent social problem In these last two plays, the playwright strongly insists forgiveness and love, and suggests them as women's true values. Indeed, Hyunsuk Park definitely opens the new era of female playwrights in Korea. Her plays mainly focus on love and family affairs, and add women's voices to Korean plays. She is also concerned with the divided situation of Korea. Her view toward the society is still very conservative from the point of feminism. Ironically, it is the very conservative nature of her work that allows her to be effective in bringing forth women's issues in today's still patriachal society.
이미원 한국연극학회 2001 한국연극학 Vol.0 No.16
This essay tries to analyze the postmodernity of the plays of Hyunhwa Lee. Bulgabulga(No-Yes-No-Yes- : 1982) and Sanssitkim (A Dead Ritual for a Living : 1981) will be examined since these plays are believed to be the two basic poles of his plays. Bulgabulga represents the world of deconstruction while Sanssitkim emphasizes that of interculuralism, even though both trends are found in the two plays. The basic concepts and techniques of deconstruction are found in Bulgabulga. The total and definite meanings of the play are kept elusive. Many devices such as a play within a play, repetition, a pun on the marginal words of positive and negative intensify its elusiveness, and obscure its definite meaning. The meaning seems to be delayed endlessly like Derrida's conceptual word of 'Differant'. Even historical facts are artfully repetitious and contribute to the delay of total meaning of the play. There are two different cultures and forms chat clash in Sanssitkim even at first sight. Within the frame of causality plot, the transcendental frame of Ssitkimkut, a shaman ritual for the dead, is working. The effects of Artaurd's cruelty theatre and the Korean shaman ritual are well mixed to create a intercultural theatre. Many features of the play such as structure, the use of repetitious silence and words, props, and acting are interwoven by the western and Korean traditions and make the most of intercultural techniques. Though the analytic methods of deconstruction and interculturalism are applied to each play respectively, both trends could be found in these plays. Bulgabulga is intercultural in the sense that it uses the linear plot of the west as well as the repetitious plot of Korean folk plays; there are also many mixtures of Korean and the Western elements in costume and props. Sanssitkim is de-constructive just to deny the binary world of the West and the East, and to create a third aesthetic experience. Indeed, the plays of Hyunhwa Lee successfully carry the world of deconsturction and interculturalism. In other words, he is a pioneer who established postmodern theatre in Korea as early as the early 1980s.