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        일본 연극 교류사와 그 영향

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

        본고는 우리 서구식 근대극에서부터 오늘날에 이르기까지 일본 연극의 교류를 서술하고 그 영향을 간단히 살피고자 하였다. 자연히 본고의 얼개가 굵고 성글다는 단점을 가지지만, 반면 양국의 교류와 영향을 총괄할 수 있다는 장점을 가진다. 더구나 아직 이러한 총괄적인 논문이 발표된 일이 없기에, 이런 작업은 중요하다고 하겠다. 이를 바탕으로 구체적인 영향 관계의 후속 논문이 가능하기 때문이다. 일본 연극과의 교류와 영향을 1) 신파극의 출현과 일본 신파극의 영향, 2) 서구식 근대극의 정립과 일본 근대극의 영향, 3) 해방후 한일 연극 교류의 시작기 및 4) 한일 연극 교류의 확장기로 나누어 살펴보았다. 일본 연극은 식민지하 우리 근대극의 초기에 지대한 영향을 주었으며, 해방 후 교류 중단기를 거쳐 60년대 후반부터 몇몇 민간의 교류와 70년대 가라 주로의 공연이 있었다. 그러나 공식적인 교류는 80년대에 들어서면서 확대되었고, 90년대에는 스카 고헤이, 정의신, 유미리, 재일동포 작가가 널리 소개되었다. 새천년에 들면서 교류는 급속히 많아지고, 일본 동경에 일한연극교류센터(日韓演劇交流センタ-:2000)와 서울에 한일연극교류협의회(韓日演劇交流協議會:2002)가 생기면서 보다 체계적인 교류가 확립되었다. 그간 우리 연극학은 서구의 연극에 치우쳐 있었음은 모두가 인정하는 사실이다. 이제 세계화의 흐름을 타고, 세계 문화도 블록화 시대로 나간다고 해도 과언이 아닐 것이다. 확실히 일본 문화와의 유사성은 그 지역적 거리의 가까움 때문에도 더한 것 같다. 본고에서 살폈듯이 일본 연극의 영향은 적지 않다. 이제 일본 문화 콤플렉스에서 벗어나서, 그들의 연극을 보다 확실히 알고 보다 확고한 동북아시아 문화 정체성을 위해 노력해야 할 것이다. This paper aims to overview the introduction of Japanese theatre to Korean theatre and its influences. The contributions of Japanese theatre in forming modern Korean theatre are underestimated due to the oppressive colonial period. It is difficult to deny that Korean Sinpa and modern theatre during the colonial period are built under the strong influences of Japanese theatre. After the independence of Korea, any cultural exchanges between Korea and Japan were banned for a while. The first Japanese theatre critics visited Korea in 1965 and first Japanese play translated as ‘Lonely Hero' was performed in 1969 by company ‘Sanha'. This work is a satiric comedy of ‘What do you know?' by Hokuda Sneari(福田?存). The first Japanese performance is Kara Juro's ‘The story of two cities' in 1972. However, this was an uninvited production that was performed underground. The first official theatrical exchange was the Subaru Theatre's <The Deep Blue Ocean> in Seoul and Korean Jau company's <What shall we be?> in Tokyo and Osaca in 1979. Cultural exchanges broadened in 1980s with three international events, i.e. The Third World Theatre Festival in 1981, The Asian Game in 1986 and The Seoul Olympic Game in 1988. These events lead Korean society to be more liberal and hence more open-minded about receiving Japanese theatre. After these events, the exchanges between the two countries significantly increased. More active exchanges begins after 1990s. Korean Japanese playwrights such as Suka Kohei, Jung Ushin, Yoo Miri and some Japanese playwrights such as Hiraza Orio become very popular. However, even though the introduction of Japanese theatre increased in the 1990s, its volume was still very limited considering the total number of Korean theatre productions of the time. It was after the new millennium that not only the number of exchanges but also the methods and means of exchanges become numerous and diverse. For example, the foundations such as The Japanese-Korean Theatre Exchange Center(日韓演劇交流センタ-) in Tokyo and The Committee of Korean-Japanese Theatre Exchange(韓日演劇交流協議會) in Seoul are important for their contemporary and systematic exchanges. Indeed, Japanese theatre was an important influence at the beginning of modern Korean theatre. However, unfortunately, there has been no previous effort to overview the overall influences and the exchanges between Korean and Japanese theatre. More studies are necessary in understanding and defining regional theatres. In this time of globalization, similar to economical blocks, more efforts need to be put into building the Far Eastern theatrical block.

      • KCI등재
      • 지역 여성운동사 연구와 여성주의 방법

        이미원 慶北大學校 出版部 2002 人文 科學 Vol.16 No.-

        Die Studie sucht nach der Bedeutung der Shreibung der Lokalfrauenbewegungsgeschichte und ihrer feministischen Methode. Es ist vorausgesetzt, dass die Lokalfrauenbewegung als die progressive Reaktion gegen die feudalistische und patriarchalische Konservativitaet erscheint. Wegen dieser progressiven Charakter der Frauenewegung muss man nicht beurteilen, die vergangene Frauenbewegungen alle konsevativ seien. Die Frauenbewegung waer natuarlich konsevativ, wenn sie die veraenderte gesellschaftliche Anforderung ignoriert und nicht kritisch selbstreflektieren kann. Fuer die rechtliche kritik dieser Frauenbewegung muess die positivistische Objektivitaet, die als der Massstab fuer die Geschichtsschreibung gilt, verdaechtigt werden. Die Aktivitaet Frauen kann in der androzentrischen Geschichtsschreibung nicht herausgefunden werden. Man braucht eine neue Methode. Die feministische Erkenntnis, durch die die Konstruktion der frauen Rolle von der gesellschaftlichen Struktur sichtbar wird, zeigt sich als ein neuen Weg fuer die Schreibungsmethode der Frauengeschichte.

      • KCI등재

        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.

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