한국 대중극사

이미원 ( Mee Won Lee ) 한국연극사학회 2003 한국연극연구 Vol.6 No.-

‘대중문화’에 대한 질의서

이미원 ( Lee Mee-won ) 한국어문학국제학술포럼 2002 Journal of Korean Culture Vol.4 No.-

한국 전통극의 공간 탈놀이 연극공간의 층위를 중심으로

이미원 ( Mee Won Lee ) 한국연극학회 2004 한국연극학 Vol.0 No.24

한국 탈놀이의 "수행성" 연구

이미원 ( Mee Won Lee ) 한국연극학회 2010 한국연극학 Vol.0 No.42

This study aims to explore the performativity of Korean Mask-Dance Theatre. Though the Korean Mask-Dance Theatre exists long before the theory of performativity comes into being, the examination of Korean Mask-Dance Theatre from the perspective of performativity theory will explain us the modernity and the generality of the aesthetics of Korean Mask-Dance Theatre. Performativity could be defined with two perspectives. One relates to theatricality in general and the other to the linguistic philosophy, that leads speeches to do something. Fischer-Lichte further related the concept of performativity to the aesthetic of phenomenology and the physical experience. In other words, speech/behavior as performance means to speech/behavior as action. Performativity of Korean Mask-Dance Theatre is first shown in the flexibility of its texts. There are many variations of its recorded oral texts. Furthermore, the Mask-Dance theatre played from the evening till dawn until the 19th century and now it could be compressed up to two or three hours. The flexibility of performing hours also tells us the flexibility of performance. In other words, the performance is making along with the improvisational acting of the actors and the coordination of the audience. There are many liminal areas between theatre and ritual as well as between theatre and reality in Korean Mask-Dance Theatre. Ritual prepares the future time because it aims at the efficacy. Since final ritual purpose exists in the future time, there are more flexibility of the performance to make. It is same with the liminal areas of reality. Reality could be the part of performance since it intermingles with theatre. Therefore, performativity and improvisations work more in these theatres than in fixed theatres. Indeed, these liminal areas are one proof to show us the performativity of Korean Mask-Dance Theatre. The emphasis of body and movements is very strong in Korean Mask-Dance Theatre, and so does the theory of performativity. The acting of Korean Mask- dance Theatre accompanies the dance movement throughout the play. The wearing of masks could be another emphasis of the body. The meaning of dialogue also aims at the plural by repeating similar questions as Derrida`s deconstructional theory. The empty space of performing area also make the spacial movements easy and flexible. Korean Mask-Dance Theatre has performativity as examined above. It is making performance along with the actors and the audience as time goes by. Texts, space, even the distinction between theatre and ritual(or reality) are flexible in order to allow the performativity. It utilizes many techniques to perform the performativity.

< 춘향가 > 변주(變奏)에 나타난 한국 사회계층화의 변모

이미원 ( Mee Won Lee ) 한국연극학회 2015 한국연극학 Vol.1 No.57

본고는 <춘향가>의 희곡적 변주(變奏)에 따른 사회계층화를 연구하고자, 고본(古本)인 <남원고사>를 춘향가의 기준으로 삼고, 신재효의 <남창 춘향가>, 일제치하 유치진의 <춘향전>(1936), 이주용의 <탈선 춘향전>(1949, 1951 소설화), 70년대 구상되어서 90년대 발표되었던 <여시아문>, 1980년대 김용락의 <방자놀이>, 1990년대 이근삼의 <춘향아 춘향아>, 2000년대 오태석의 <기생비생 춘향전>, 그리고 2010년대 김현탁의 <열녀춘향>이 어떻게 변주되었나를 살폈다. 조선 말기부터 한국의 포스트모던 시대까지 <춘향가>의 희곡변주는 실로 사회변화를 반영하지 않을 수 없었으며 그 사회계층화를 보여준다. 1930년대 일제 치하의 <춘향전>에서는 정치 문제를 다룰 수 없었던 상황이었기에 고전 <춘향가>에 사실적 묘사를 높이며 ‘평등의식’을 강조하였다. 아직 패러디의 개념이 없었기에 가장 원본을 닮았다고 하겠으니, 정치체제나 경제 및 유학적 배경은 고전 <춘향가>를 따랐다. 해방 후<탈선춘향전>에서는 신분제의 변화는 물론 서민 경제의 변화상을 비롯해서 여성 사회권의 확장과 기독교까지 등장한다. <여시아문>과 <춘향아 춘향아>는 군부독재를 풍자하기 위해 초점을 정치체제와 절대 권력에 맞추고 있다. 고전 <춘향가>는 사랑가가 아닌 현대판 정치극으로 바뀌었으며, 경제는 정치에 종속되며 기타 다른 사회요소들은 관심 밖이었다. <방자놀이>는 현대의 문란한 성(性)을 풍자하는데 고전 <춘향가>를 활용하였다. 새밀레니엄 이후 <기생비생춘향전>이나 <열녀춘향>은 개인의 자아 확립이나 성적 판타지에 맞추었다. 구체적인 정치. 경제 상황이 언급되기보다 한 개별적 인간의 성숙에 초점을 맞춘다. 고전 <춘향가>의 아우라를 힘입었을뿐, 개인이 강조되고 정치·사회적 계층화의 문제는 논외였다 하겠다. 이렇듯이 <춘향가> 변주 희곡들은 그 변주 자체가 각 사회상의 강조점을 조명했다. 사회계층이 브르디외의 주장처럼 문화의 아비투스까지를 포함한다고 할 때, 변주 희곡들은 사회 계층화의 변화를 잘 반영하고있다. 처음에는 신분의 계층화를 타파하려는 노력에서 시작하여, 새 밀레니엄에 와서는 개인의 부각을 충실히 보여주기 때문이다. 지고한 사랑과 신분 상승이라는 <춘향가>의 아우라는 변주 희곡들에서 자유롭게 해석되며 각 시대를 반영하여 오늘의 춘향으로 새롭게 해석되었다. There have been multiple theatrical variations of Choonhyangga, a timeless classic. These variations show us the social stratifications over 100 years. The variations of Namwon-Gosa [between 1864 and 1869] is considered the original version of Choonhyangga, with numerous variations such as Shin Jaehyo’s Namchang Choonhyangga in (1869), Yoo Chijin’s Choonhyangjun in (1936), Lee Juyong’s Erratic Choonhyang (1949, 1951), Jang Yoonwhan’s Yeosiamun that was conceptualized in the 1970s and published in the 1990s, Kim Yongrak’s BangjaNori in the 1980s, Lee Geonsam’s Choonhyang, Choonhyang in the 1990s, O Taesok’s Giseng-Biseng Choonhyangjun in 2000, and Kim Hyuntak’s Yolyeo Choonhyang in 2013. These variations differed in their emphasis and contextualization of the original Choonhyangga, and were strongly influenced by the social environ of the time. While Shin Jaehyo’s Namchang tried to set the ideal model for Confucian kingdom during Josun dynasty, Yoo Chijin’s Choonhyangjun emphasized individual equality and freedom as Korea was under Japanese imperial oppression at the time. Lee Juyong’s Erratic Choonhyang performed shortly after the Korean independence showed fast-changing social caste system as well as women’s empowerment. Jang Yoonwhan’s Yeosiamun and Lee Geonsam’s Choonhyang, Choonhyang criticized the dictatorial government of the president Park in the 1970s. Kim Yongrak’s BangjaNori satirized easy-going sexual lives of modern times. Giseng-Biseng Choonhyangjun and Yolyeo Choonhyang after new millennium focus on individuation and sexual fantasy. These variations of Choonhyangga reflect the values and trends of changingKorean society, touching on the social stratification, economic inequality, states of the politics, gender role, and religion. However, the ideal of true love and Choonhyang’s upward mobility hold fast in all variations.

한국 연극에서의 포스트드라마

이미원 ( Mee Won Lee ) 한국연극학회 2011 한국연극학 Vol.1 No.43

This essay will explore the characteristics of postdramatic theatre in Korean theatre. It first summarizes the western postdramatic theories, centering those of Hans-Thies Lehmann. Celebrating theatre as process, discontinuity, heterogeneity, pluralism, multiple code, subversion are distinct characteristics of postdramatic theatre. The postdramatic theatre is first introduced to Korea around the new millenium. The foreign invited productions are very influential; they are Polish company`s <Cleansed>, Need Company`s <Room of Isabella>, Rimini Protokoll`s <Capital>, Lemieux.pillon 4d Art`s <Norman> and Chris Kondek`s <Dead Cat Bounce>. They set the examples for postdramatic theatre and let theatre people realize the merits of its performances in Korea. The translated plays` Korean productions with postdramatic tendency are rare, but there are a few such as Sarah Kane`s <4.48 Psychosis> and Martin McDonaghare`s <The Pillowman>. However, these productions did not show the audience much postdramatic characteristics except the ones that the original plays` have. The directors seem not to understand the postdramatic concepts. The characteristics of postdramatic theatre are also shown in the plays by Korean playwrights. Idea of deconstruction is revealed in the plays such as <Adoration of the Youth>, <A Train to the Tomb of Emperor Jinsi> and <A Hot Contest of Terrorists> at the turn of the century. The normal binary is broken in these plays; normal hierarchy does not exist, and endless delay of meaning as well as the individualized view of history are applied. Site specific theatre also came into being. <Day like Today> used a whole park as the performance ground to evoke the problems of the aged, while <Marie(an adaptation of Woyzech)> chose a rooftop to show the inner anger and emptiness of Woyzech. Body and performativity are emphasized in the acting of postdramatic theatre. Ryangwon Kang`s production of <Inspector> is examined to show the performative acting. There are also mixed-genre performances and non-verbal performances to demonstrate the heterogeneity, pluralism, multiple code and so on. It`s easy to show those characteristics of postdramatic theatre in those performances since the mixture of genres itself is heterogenic and non-verbal performances have to use other methods to communicate. As examples of mixed genres, Songmin Hong and Kumhyung Chong`s performances are analysed while <Cooking> and <Jump> are examined as the representative of non-verbal performances. The innovations of scenography and related technology are now under development but the cases are rare. The scenography and technology could change the form of theatre dramatically. It means that postdramatic theatre is not yet fully developed in Korea. This essay is not the analysis of postdramatic theatre but the tendency of postdrama in Korean theatre. However, these characteristics are important since they predict the direction of Korean theatre and tell the future theatrical forms. Theatre seems to be not in the narrow concept of Aristotelian drama but emphasizes the process and broaden its area up to events. In this sense, postdramatic theatre goes along with the directions of performance studies in the United States. The tendency of the world theatre goes toward the experience rather than the representation.

굿 속의 탈놀이: <영산 할아뱜.할먐굿>과 <탈굿>

이미원 ( Mee Won Lee ) 한국연극학회 2010 한국연극학 Vol.0 No.40

The Korean Mask-Dance Theatre has been developed closely related to Korean Shaman rituals. As many scholars noticed, the performers of the Mask-Dance Theatre were closely related to the Shaman family. In addition, there are mask-dance performances in actual shaman rituals. <Youngsan Grandpa and Grandma> and <T`al Kut, the Mask Ritual>are the representative performances among them. This essay intends to compare these two mask-dance performances in the shaman rituals to the similar performance of Old Grandpa and Grandma episode in the regional Mask-Dance Theatre. This study would bring us further in proving the close relation between the shaman ritual and the Mask-Dance Theatre. <Youngsan Grandpa and Grandma>is one episode, Keori, in the shaman ritual of `Baeyeonsin-kut` and `Taedong-kut` in the mid-west seashore area. `Taedong-kut` is the village shaman ritual for fertility and prosperity, while `Baeyeonsin-kut` is a private shaman ritual for a large catch of the ship. <Youngsan Grandpa and Grandma> is held in the later part of the whole shaman ritual since the later part tend to be more for entertainment than actual ritual. The story of <Youngsan Grandpa and Grandma> is very similar that of <the Old Grandpa and Grandma> in Pongsan Mask-Dance Theatre of the mid-west region. In addition, some of their dialogues are very similar. Only the later part is different. These similarities indicate that the Mask-Dance Theatre, which came into being in later period than the shaman ritual, has likely taken the story motif of the shaman ritual. <T`al Kut> is also a performance in the shaman ritual of east coasts. <T`al Kut> is more elaborate and recreational than <Youngsan Grandpa and Grandma> of the west coasts. <T`al Kut> is also performed near the end of the ritual, and sometimes it is not performed at all. This indicates that <T`al Kut> has little ritual meaning left. When we compare it with the regional Mask-Dance Theatres such as Keosung Okwangdae, Tongyong Okwangdae, and Suyong Yaryu, the structure and the story lines are also very similar. It is a question why only the motif of the Grandpa and Grandma is found both in the shaman ritual and the Mask-Dance Theatre. Many other motifs of other episodes in the Mask-Dance Theatre are not found in the shaman rituals. It seems that the Grandpa and Grandma motif is related to the ur-belief in fertility. In other words, this motif seems to be originated from the old belief in the fertility couple of Chonha Taechanggun and Jiha Yeochanggun. The shaman ritual for fertility first picked up this motif, and then the mask-dance theatre also adapted this motif for its recreational purpose. When we compare <Youngsan Grandpa and Grandma> with <T`al Kut>, <Youngsan Grandpa and Grandma> still has more aspects of fertility ritual, while <T`al Kut> lost its ritualistic meaning and its main purpose is to develop dramatic needs. <Youngsan Grandpa and Grandma> and <T`al Kut> are invaluable existent performances to prove theatre`s origin in ritual. The existence of mask-dance performances in the shaman rituals shows us the transit performance between theatre and ritual.

춘향예술의 양식 분화와 세계성 : 현대극의 <춘향전> 수용

이미원 ( Mee Won Lee ) 한국공연문화학회 (구,한국고전희곡학회) 2003 공연문화연구 Vol.6 No.-

한국 해체주의 연극 : 〈청춘예찬〉〈서안화차〉〈자객열전〉을 중심으로

이미원 ( Mee Won Lee ) 한국드라마학회 2009 드라마연구 Vol.- No.30

The ideas of Deconstruction have influenced theatres of the post-modern world. The most essential characteristics of Deconstruction are the break of the binary between the center and the margin, and the idea of differance. Korean theatres are also influenced by Deconstruction around after the new millenium. This essay will analyze the three productions of〈Adoration of the Youth〉,〈Train to the Tomb of Emperor Jinsi〉 and〈A Hot Contest of Terrorists〉 as examples of Deconstruction in Korean theatres.〈Adoration of the Youth〉 breaks the social hierarchy of father and son, of teacher and student, and of man and wife. The relationship among characters are obscure and delayed. There is no extinction of relationships even between the divorced man and wife. The wife gives the man some money whenever he visits her. Every relation and value is individualized and the social common norms are broken. In other words, the performance breaks the binary of social norm and hierarchy. Thus, the new sensibility is unfolded to the audience. That sensibility is somewhat annoying but indicates another truth.〈Train to the Tomb of Emperor Jinsi〉 also breaks the binary of an assaulter and a victim. The love that motivates this story is not the love between man and woman but homosexual love. In addition, the performance is hard to tell whether it is a performance or an exhibition. There are many mud sculptures on the stage, which reminds us of the mud sculptures inside of the tomb of the Emperor Jinsi. When the protagonist makes his alive lover a mud sculpture, we realize that he wants his love forever like the sculpture of Emperor Jinsi. In this sense, the performance is an individualized history of Emperor Jinsi. The accidental witnessings are far more important than logical causality in the plot. The whole story is a recollection of the protagonist on the train to the tomb of Emperor Jinsi. The train ride gives us some distance from the story and let us think about the rest of the meanings in the story. No moral judgement is imposed on the audience.〈A Hot Contest of Terrorists〉 is a reflection of today`s terrorism. The performance asks us whether we all react hysterically toward terrorism after 9.11 in the United States. It breaks the binary of terrorism and patriotism. It shows all sorts of people who would willingly die for the ideal whether they are called a patriot or a terrorist. All patriots and terrorists are exaggerated and distorted in the performance. The completion of the terror is delayed forever. And the meaning of the performance is ambiguous and delayed. All three performances break the binary of present norms, and show us the new possibilities and meanings. They also try to intermingle the theatre genre with others genres. Thus, these performances make us experience new sensibilities and complicated delayed meanings, which is the ultimate goal of deconstruction. 연극에서의 해체주의도 근본적으로 데리다(Derrida)의 세계관과 방법론의 연장이다. 해체주의 이전의 "중심"은 흔히 종합적이며 총제적인 의미망의 핵심이었다. 해체주의는 바로 그 중심을 거부한다. 텍스트의 의미는 조직된 상하구조가 아니라, 드러났다 숨고 숨었다 드러나는 의미들의 상호작용이라고 진단한다. 차연(deferring & differing)은 해체주의 세계관의 핵심이라고 하겠으니, 작품의 궁극적 의미는 끝없이 지연되며 관객은 현재의 어떤 특수성만을 경험한다. 작품은 문자로 고정되어진 단어들이 아니라, 원초적 글쓰기에 연관된 모든 경험과 사고를 섭렵하는 텍스트(Text)라고 명명했다. 따라서 작품의 궁극적 의미는, 텍스트 및 공연에서 반복해서 새로운 상황으로 대체되고, 어떤 지적, 윤리적, 정치적 질문에도 궁극적인 결론은 불가능 하다.궁극적으로 해체주의가 보여주는 의미 없음 혹은 다의성을 통해서, 결국 기성의 이분법을 부정한다. 우리 연극계에서 ``해체``라는 단어가 처음 쓰인 것은 90년대 초반 이윤택에 의해서가 아닌가 싶다. 그는〈햄릿〉을 재구하면서 자신은 작품을 해체하여 재구성하였으며, 자신의 ``해체``는 서구의 해체와 다르다고 말했다. 우리 연극계가 흔히 해체라고 행했던 플롯의 재구성은 ``해체주의``의 부수적인 효과일 수도 있으나, 본격적인 해체주의가 되기 위해서는 궁극적으로 기성의 이분법을 해체해야 한다. 이런 희곡은 선구적으로 80년대 이현화의〈불가불가〉 같은 작품을 꼽을 수 있으나, 본격적으로 이러한 공연들이 우리 연극계에 나타난 것은 새 밀레니엄을 전후하여 일어나기 시작했다. 99년〈청춘예찬〉을 시작으로, 2003년〈서안화차〉와 2004년〈자객열전〉은 이러한 해체주의의 징후를 확연히 보여준다. 해체주의 분석을 위하여 몇몇 중요한 개념들이 있으니, 중심(Center) 및 주변(Margin), 차연(Differance), 역사관(Historiality) 등이 그것일 것이다. 이들을 적용하여〈청춘예찬〉〈서안화차〉 및〈자객열전〉을 분석하였다.〈청춘예찬〉의 독특한 감각은 기성가치의 파괴와 그 개별화에서 온다. 부자지간이나 사제지간의 상하구조가 파괴되고, 각각 인물들의 관계 역시 지연되거나 모호하며, 어떤 역사관도 피력하지 못하는 사소함이, 이 작품을 이 시대의 새로운 고발자로 만들고 있다. 기성담론 이분법의 파괴 이후의 삶이야말로 이 작품이 보여주는 세계인 것이다. 한편〈서안화차〉는 얼핏 단순한 회상 같지만, 여기에는 여러 해체주의적 해석들이 얽혀있다. 선악의 이분법을 거부하고 피해자와 가해자 경계를 모호하게 흐렸으며, 등장하는 사랑 역시 남녀 간이 아닌 동성애간의 사랑이다. 굳이 신역사주의를 들먹이지 않아도, 어찌 보면 이 공연은 진시황이라는 역사에 대한 개인사적인 해석이기도 하다. 또한 기법에서도 미술의 ``조각``에서 빌려 와 장르의 혼합을 시도하고 있으며, 부조리극과 같이 ``우연``을 강조한다. 뿐만 아니라 기차여행이라는 설정을 통해, 일정 부분 빈 의미를 제시하며 관객의 글쓰기를 유도했다. 이야기하면서도 객관적으로 거리를 두기에, 공연은 어떤 의미도 강요하지 않을뿐더러 연기하고 있다. 실로 새로운 시각이며, 다의적인 현실이다.〈자객열전〉은 한 마디로 우리 시대의 반성이다. 9.11 이후 테러리즘에 히스테리적 반응을 보이고 있는 현대 사회에서, 이것 역시 하나의 테러리즘이 아닌가를 묻고 있다. 애국/테러리즘이라는 분명한 이분법에 대한 반발이다. 실로 오랜만에 연극의 사회적 소명을 상기시키고, 그 ``사고하는 연극``의 무게와 재미를 일깨웠던 연극이었다. 이들 세 공연들은 모두 기성의 이분법적 통념을 벗어나서, 제3의 의미와 가치를 지적하고 있었다. 공연에서 토용이나 인형들을 사용하는 것도 장르의 복합적 시도이다. 공연의 신선한 감각은 바로 이 다의성에서 온다고 하겠다.

연극과 디지털 테크놀로지 -가상현실과 하이퍼텍스트의 연극적 응용-

이미원 ( Mee Won Lee ) 한국연극학회 2003 한국연극학 Vol.0 No.20

This essay studies the influence of digital technology on theatre. in fact, the basic organic system of digital technology reflects discontinuity of Postmodern thoughts. The lineal connection is not working any more in digital technology. The recent performances that used technology in Korea are examined. Especially, 《Two in One》indicates the future theatre utilizing internet. Virtual reality, quality of interface, hypertext are examined as the representative digital techniques of the future theatre. If we accept virtual pets or cyborg, we could accept characters in virtual reality as a substitute of actors` body. Then, the virtual reality could be a theatre. if we accept the illusion oh virtual reality a theatre, we could experience a theatre without any limit of time and space. Virtual reality also used for educational purpose. For example, if the entire materials of Macbeth`s performances are in virtual reality, we can easily find a prop for Lady Macbeth. The reconstruction of a periodical theatre in virtual reality is also under trial; for example, the vaudeville theatre is under construction. The interface quality is inevitable when we accept theatre of virtual reality. The participants can choose at every reseaux or network and make their own plays. They can add their own meanings and participate the writings of an author. Hypertext is a writing technique which applies one-to-many linking or many-to-more than-one linking. This could also be applied to playwrighting and virtual reality theatre. There are neither lineal plot development nor a single beginning and ending. There are multiple choice at every link and, variation of plots are possible. All these digital technology could be applied to theatre. In the age of Internet, theatre could be free from the limits of time and space. It is time to decide for theatre whether it remains a minor genre insisting the live body or it is freed from the limits of time and space applying digital technology.