Madangguk: The Contemporary Theatrical Genre with the Traditional Heritages

Meewon Lee(이미원) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.-

아시아 영어 연극학의 현재 : 2019 IFTR 아시아 워킹그룹 학회 발표를 중심으로

이미원 ( Lee Meewon ) 한국연극학회 2019 한국연극학 Vol.1 No.70

본고는 2019년 2월에 서울에서 열렸던 세계연극학회(IFTR)의 아시아 워킹그룹 학회를 중심으로 아시아 영어 연극학의 현재를 집어보고자 한다. 세계연극학회 속에 아시아 워킹그룹이 생긴 것은 2008년 중앙대학교 주최로 한국에서 열렸던 세계연극학회 이후이다. 현재 세계연극학회는 워킹그룹(Working Groups), 일반패널(General Panels) 및 신진학자 포럼(New Scholars' Forum)의 세 분과로 나뉘어 있다. 10년 전에는 일반패널 부분이 왕성하였으나, 점점 워킹그룹이 주도하게 되어서 지금은 단연 워킹그룹의 발표가 훨씬 많다. 아시아 워킹그룹은 총 23개의 워킹그룹 중 하나이니, 전체 연구의 23분의 1으로 아직 미미한 수준이다. 특히 한국연극학은 한국의 세계 속의 위치를 감안할 때 많이 부족한 실정이니, 한국 연극학자들이 분발하여야 하겠다. 이번 학회는 ‘아시아 연극의 경계를 넓히며(Expanding the Boundaries of Theatre)'를 주제로 했다. 기조 강연으로 평창 겨울 올림픽 개·폐막식을 총체적으로 책임지고 연출했던 송승환의 발표가 있었다. 그는 이러한 개·폐회식 연출과 연극 연출 간에 근본적인 차이는 없다고 말하고, 이벤트에도 내러티브를 입힌 연출이 더 환영받는다고 하였다. 일본 연극학은 3명의 서구 학자들이 발표하여 세계 속에 일본연극의 위상을 알려주었다. 폴란드의 야곱 카포럭(Jakub Karpoluk)은 신사꾸 노(Shinsaku No)에 대하여, 독일의 바바라 게일혼(Barbara Geilhorn)은 스가와라 나오끼(Sugawara Naoki)와 오이복케쉬극단에 대하여, 핀란드의 아나 셔링 (Anna Thuring)은 핀란드 공영방송에서 방송된 라디오드라마 중 아시아의 영향을 살폈다. 인도연극은 축제 연극들이 소개되었는데, 현대 캘커타의 듀르가 푸자 축제를 시각적 공연으로 본 연구, 자트라 공연의 진화에 대한 연구, 그리고 인도 연극이 유지니오 바르바의 연극이론에 기여한 바에 대한 연구였다. 중국은 응용연극이 발표되었는데, ’난페이얀 포럼 연극의 변화‘에서 중국 이주 노동자 집단의 연극 케이스 연구했다. 우리에게 잘 알려지지 않았던 필리핀과 베트남 연구도 있었으니, ‘필리핀 마린듀끄의 대관식 제의의 연극성’은 푸동/투봉이라 불리는 대관식을 소개하고 그 의의를 해석했다. ‘연극, 헌신과 젠더’는 민속적 가톨릭 제의의 하나인 페나프란시아 축제를 연구하며, 성녀의 우상화와 젠더의 문제를 논했다. 베트남 관련 논문은 베트남 현대 연극의 중요한 작가인 루 쿠앙 브(Lu'u Quang Vu)를 소개하였다. 환경연극도 발표되었는데, 범아시아의 생태와 그 복원 관련 연극을 논의하면서, 아주 인간과 동물의 영역을 나누어서 존재해야 한다는 의견도 있었다. 오늘날 아시아 연극은 점점 더 상업적이 되어가며 실험극도 줄어들고 있지만, 연극 경계의 확장은 필요하고 또 진행되고 있다. 연극은 대중사회에 맞추어 새로운 영역을 개척하고 있으니, 환경연극의 부상도 이와 같은 맥락에서 이야기 될 수 있을 것이다. 이러한 경계 허물기를 연극이 적극적으로 수용할 때, 연극이 오늘에 살아있는 장르가 될 것이다. Asian Theatre Working Group has founded since 2008, when the congress of IFTR (International Federation for Theatre Research) was held in Seoul, Korea. Since then, Asian Theatre Studies expand their voices to the world theatre. However, Asian Theatre Workign Group is only one of 23 working groups. In other words, the studies of Asian theatre in English are still very weak. In thinking of Korean theatre studies in English, there are very a few. Plus, a few scholars attend at the IFTR, and few scholar attends regularly. Korean scholars should try harder to publish Korean theatre studies in English when we consider the our economical power in the world. The topic of 2019 Asian Theatre Working Group is "Expanding the Boundaries of Theatre." The keynote speaker is Director Seunghwan Song, who directed the Winter Olympic opening and closing ceremonies of 2018. He tried to express the Harmony, Fusion, Passion and Peace, which he thought the essence of Korean cultre. He directed the Korean history dividing into the past, the present, and the future, and gave some story narrations to these periods. He found no differences of directing between the Olympic events and theatrical performances, and emphazied the importance of narrative story in both genres. There are three papers on Japanese theatre; all three are presented by the Westerners, which tells the status of Japanese theatre in the world. Jakub Karpoluk, a polander, presents the paper on Shinsaku No titled "Expending the Boundaries of Japanese Noh Theatre.” A newly written Noh < Meifuko Nekyia > is well examined. Barbara Geilhorn from Germany presents the paper of "Aging, Dementia, Caregiving-The Theatre of OiBokkeShi" on Sugawara Naoki, who is the founder of OiBokkeShi theatre group and concerns the aging problems. This is a study on applied theatre, which begins to raise its voice in Asia nowadays. Anna Thuring from Pinland studies YLE's radio dramas, which come from Asia since 1950s. With exception of one Chinese and Indian drama, all are from Japanese. She chooses five of Japanse radio drama and examines them Since our topic is expanding the Boundaries of Theatre, Indian theatre papers present two festival like theatre, Durga Puja in Contemporary Kolkata, and Transcending form of Jatra. The former is a scenic theatre centering the image of the goddess Durga in mythology. The latter well describes the evolution of folk theatre Jatra in Bengal from the 16th century to the present. There is also a paper on Indian theatres' contributions to the theories of Eugenio Barba. The applied theatre is also presented by Chinese scholar, titled on Nanfeiyan's Forum Theatre Transformation. It is a Case Study on Theatre Practices of Migrant Workers' Community in China. There are also studies of so far alienated areas such as philipine and Vietman. "The Theatricality of the Coronation Ritual in Marinduque, Philippines Theatre" and "Devotion and Gender: Figuring, Gendering and Theaticalizing the Penafrancia in Bicol, Philippines" deal respectatively with the Coronation Ritual as theatrical event and the Penafrancia ritual as theatrical Gender. The vietnamese paper explores the life of Lu'u Quang Vu, who is one of the important playwrights of the Modern Veitnam. In addition, there is a paper on environmental theatre. Analying couples of Asian environmental theatre, the writer suggests Human No-Go Zones on Stage. Since nowadays Asian theatre tends to be more commercial and lack the experiments, the expand of theatrical boundaries is very important in this postmoder world. Theatre in the age of media has to find a new way to be popular and to be a live art genre.

한국연극에서의 포스트모더니즘

李美媛(Lee Meewon) 고려대학교 한국학연구소 1993 한국학연구 Vol.5 No.-

커뮤니티연극을 위한 교육연구

이미원(Lee Meewon) 한국예술종합학교 한국예술연구소 2018 한국예술연구 Vol.- No.20

일본 연극 교류사와 그 영향

이미원(Lee Meewon) 한국예술종합학교 한국예술연구소 2013 한국예술연구 Vol.- No.8

마당극 : 전통수용의 현대적 양식화

이미원(Lee, Meewon) 한국예술종합학교 한국예술연구소 2012 한국예술연구 Vol.- No.6

커뮤니티연극을 통한 지역사회의 변화

이미원(Lee Meewon) 한국예술종합학교 한국예술연구소 2017 한국예술연구 Vol.- No.18

“한국 사실주의의 희곡의 최고봉”

이미원(Lee Meewon) 한국예술종합학교 한국예술연구소 2014 한국예술연구 Vol.- No.10

프로 희곡의 등장 : 김영팔 희곡 연구 A Pioneer of Korean Proletarian Drama

李美媛 慶熙大學校 1990 論文集 Vol.19 No.-

The Korean Proletarian or the left-wing literary movement became first evident in the 1920s. In drama, Youngpal Kim is the forerunner of this movement. This study attempts to examine the plays of Youngpal Kim in order to understand the 20s Proletarian Drama. The plays of Youngpal kim are largely divided into three groups. In his early realistic plays, he criticized the wrong side of the old traditional custom and insisted reception of the Western cultrue. Strong raisonneur characters who insist to carry new ideas into actions are notable. They seem to be developed to the fighters and revolutioners in his later Proletarian drama. In his middle plays, Youngpal kim turned to Proletarian ideas. He sympathized with the poor class and insisted the social improvements. However, he failed to faithfully follow the creed of KAPF, the Korean Association of Proletarian Artists. Finally, he expelled from KAPF for the reason that he had job at pro-Japanese Kyungsung Broadcast Station. After his expulsion from KAPF, Youngpal Kim wrote a few social satiric plays. However, soon he stopped writing. Though he sympathized with the Proletarian ideas, Youngpal kim could not become a communist revolutioner. Thus, his contributions to Korean drama have been lightly weighed in North Korea as well as in South Korea. Indeed, the merits and limitations of his plays are those of the 20's Proletarian Drama.

호동왕자' 설화의 현대적 재구

이미원 경희대학교 민속학연구소 1999 한국의 민속과 문화 Vol.2 No.-

Legends and Myths are important sources of literary imagination. This essay chooses the legend of Hodong Prince, and examines its modern dramatic variations such as Dong-dong Nakrang Dong (1978) by Inhoon Choe. The Price(1979) by Myongsoon Shin. A.D. 313(1985) by Jaeso Park and Hodong(1986) by Jungsun Yoon. The interpretations of the Hodong Prince legend vary according to the playwrights' point of views. Inhoon Choe tries to break down the boundary between the reality and illusion. In his play Dong-dong Nakrang Dong, he makes the queen character a twin sister of the Nakrang princess. As the step-mother queen is playing the game of the Nakrang princess, Hodong begins to confuse the queen with Nakrang princess. Finally, he can's figure out whom he really loves, and mixes the reality with illusions. Myongsoon Shin interpretates the legend as an inquiry into political power. Thus, he makes the character of Hodong very heroic, but he falls into the tragic situation by his fatal Hamartia, that is, he didn't recognize the Nakrang princess. The inquiry of this play reflects a view on the nature of political power in the 1970s: which is a dictatorship. A.D. 313 also emphasizes interpretations of political power. The playwright boldly makes the legend a political parody of the present divided Korea. He illustrates a situation where the dictators of the South and the North make best use of the divided situation of Korea to extend their dictatorships by using the treat of war. While on the other hand, Jungsun Yoon, a female playwirght, emphasizes the passion of women. She makes the queen a very important charcter in her play. The queen who passionately falls in love with her step son reminds us of the Pedra figure of Greek legend or of a Racine play.