국내 커뮤니티 씨어터(Community Theatre)의 운영과 작품제작 연구 : 마포문화재단의 '꿈의 극단' 사례를 중심으로

다국어 초록 (Multilingual Abstract)

The purpose of this paper is to help the general public to continue realizing their dream of ‘Standing on Stage’ by looking into the management and work production process of the Community Theatre through the case of <Theatre of Dream> of the Mapo Cultural Foundation, and presents the development direction of the Community Theatre based on this.
The Community Theatre, created under the influence of ‘Mai 68’ and ‘Cultural Democracy’, is an art in which a common citizen as a member of a community becomes a participant to actively experience the creative process of dramatic arts, introspect oneself, and develop a community through communication and cooperation with Community Artists. Accordingly, what is important is not the outputs, but the process of the Community Theatre itself. Also, the relationship and interaction among Community Artists and participants are incredibly important.
This paper can be called a record of the Community Theatre's management and production of work led by the ‘Call of Love’ team among the <Theatre of Dream> of the Mapo Cultural Foundation. Unlike other Community Theatres, which generally have a one-person instructor system, this Community Theatre is operated with many instructors, which has advantages in achieving the best cooperation with Community Artists by acting near the participants while standing on stage together, and being able to produce work systematically and stably even in the creation of work because Community Artists take charge of their roles by fields such as an author, director and actor.
To take the Community Theatre a step further, the Community Theatre must be operated by a majority instructor system, and education and workshops are absolutely necessary to train a professional Community Artist.
As a method of producing the performance text, which is one of the important roles of Community Artists, ‘Pre-text or Autobiographical Storytelling’ could be used, or ‘Research as Practice’ could be expressed through the form of ‘Storytelling on Oneself,’ which is a narrative method during the Post-drama period.
The more changes are drawn from the participants, as it becomes a basis for the development of the Community Theatre, and participants’ change of life serves to enhance their pride in and attachment to the Community, and accordingly, their local community will be expanded actively.
There should be an active exchange among many types of people participating in the Community Theatre, and the regular, close cooperation among the related institutions surrounding the Community Theatre should be expanded as well. The participants’ social responsibility will be returned as a sense of social achievement, can draw a change in the environment and psychology of a neglected class of people through culture, and it will play a role in social integration, which enhances the quality of their lives.

목차 (Table of Contents)

• Ⅰ. 서론 1
• 1. 연구목적 1
• 2. 선행연구 및 연구방법 5
• Ⅱ. 커뮤니티 씨어터(Community Theatre)의 개념 9
• 1. 커뮤니티 씨어터의 형성배경 10
• 2. 커뮤니티 씨어터의 연극적 맥락 18
• 3. 커뮤니티 씨어터의 정의와 특징 25
• Ⅲ. 마포문화재단 <꿈의 극단> 운영과 공연 사례 43
• 1. 운영 배경과 방식 44
• 1. <꿈의 극단>과 <연극 in 서울> 운영 배경 44
• 2. 다수(多數)로 구성된 커뮤니티 아티스트 48
• 3. 일반 시민으로 구성된 참여자 54
• 2. 연극수업 운영과 공연 ⟪연극, 말을 걸다⟫ 58
• 1. 연극 프로그램 운영 58
• 2. 공연을 위한 텍스트 구성 82
• 3. 참여자들의 연기 접근 91
• 4. 참여자들의 공연 체험 100
• 3. 공연 후 평가 106
• 1. 공연 후 관객 반응 106
• 2. 참여자 자기 평가 109
• Ⅳ. 커뮤니티 씨어터(Community Theatre)의 발전 방향 114
• 1. 커뮤니티 아티스트의 역할 114
• 2. 일반 시민 참여자들의 변화 124
• 3. 네트워크 협력체계 구축 130
• Ⅴ. 결론 138
• 참고문헌 143
• ABSTRACT 152