英國劇의 韓國移植過程에 관한 硏究 : 韓國近代劇에 미친 毆美劇의 影響에 관한 硏究 其 7 The Influence of Western Drama Upon Modern Korean Drama(7) = A Study on the Process of Transplanting British Drama into Korea

다국어 초록 (Multilingual Abstract)

It seems that the modern theatrical history of Korea is closely connected with the process of inducting Western drama, which, since its introduction into Korea in the 1920's has had a powerful influence upon domestic stage and played a significant part for its further originative development.
However, it is scarecely an exaggeration to say that Western drama was indiscriminately received by way of Japan in terms of its literary thoughts and trends. It is therefore that the-then dramatic tendency in Korea chiefly hinged upon foreign theatrical influences mainly from Japan.
In its initial stage, the induction of Western drama appears to reflect the sociocultural background of the times when Korean people were under Japanese colonial rule. In this respect, it is only natural that the protest-minded western playwrights and their plays were popular among Korean dramatic circles.
This paper aims to trace how British drama was transferred to Korea and what influence it had on the Korean theatre as well as its audience. Since the induction of shakespeare was already examined in this journal as a separate thesis, this paper places its focus on modern British dramatists and their works.
In chapter Ⅱ. the induction of British drama in the first half of the 20th century was discussed in the light of its performance on stage.
In Chapter Ⅲ. the translation of British drama and criticism is dealt with.
In Chapter Ⅳ. the study on the British drama is examined, which falls into two phases----the simple introduction and the full-scale study.
A variety of data available for this study elicits following conclusions.
1. At the enlightenment period some eminent British playwrights were introduced with the famous epigrams from their works. In 1923, G.B.Shaw's one-act play How he Lied to Her Hushand was put on the stage by Towol-hoe, a student troupe.
2. Since then, professional dramatic companies represented several British plays which later took on among student troupes. In the 1920's, however, only G.B.shaw's play were staged with other British dramatists almost absolutely neglected.
3. In the 1930's other British plays including Galsworthy's Justice were played on stage with the advent of full-scale, professional dramatic companies such as 'Keug-yesul-yonku-hoe' (Drama Research Society). This implies that British drama was actively staged in the 1930's, thus having a profound influence upon the domestic stage.
4. It is noteworthy that the British plays performed were selected to express national sentiments, an shown in Shaw's Saint Joan and Galsworth's Justice. It was by no means an accident that Shaw's plays of social reform had a strong appeal to the Korean dramatic circles.
5. In the 1940's British plays were hardly represented with a few exceptions by the student troupes.
6. British plays began to be translated from the 1920's when Oscar Wilde's Salome and Shaw's How He Lied to her Husband in translation were carried in such literary megazines as 'Kaebyuk' and "Hae-oe-munhak', The translation was most active in the 1930's, but the complete version of British drama was out of the question due to the lack of British drama experts along with the poor conditions of publishing industry. It was also true immediately after the Liberation in 1945.
7. Viewed in this context, the induction of British drama was carried out in a superficial and limited manner. But the introduction of British plays through numerous critical essays was relatively active even in the 1920's. Woo-jin Kim who studied English Literature in Japan announced various critical essays on the modern British dramatists with specific consideration given to G.B.Shaw.
8.G.B.Shaw and Galsworthy, both Nobel Prize winners in the late 1920's and early 1930's respectively drew particular attention from Korean critics.
9. Among the critics who introduced British playwrights and their plays in the 1920's and 30's were In-sup Chung, Jin-sup Kim and Kwang-sup Kim. All of them studied English or German Literature in Japan.
10. In the 1940's the study on British drama was also on the decline as Japanes militarists were in severe confrontation with English-speaking nations in its lastditch fight. The study on the English Literature was an obvious but covert taboo.
11. As the 1950's sets in, universities and colleges installed the English Literature Department and naturally offered English Drama course. The academic thesis on G.B.Shaw, Galsworthy and T.S.Eliot, though small in number, began to come out with matured quality.
It is true that British drama, as mentioned above, was inducted in a superficial and limited manner despite seemingly active import of British art and culture. However, it is beyond doubt that it has ahd a profound influence upon the development of modern Korean drama.

목차 (Table of Contents)

• Ⅰ. 序論
• Ⅱ. 公演的 측면에서 본 英國劇作品의 受容
• 1. 20年代의 公演
• 2. 30年代의 公演
• ⅰ. 學生劇公演
• ⅱ. 職業劇團의 英國劇作品公演
• 3. 40,50年代의 公演
• ⅰ. 學生劇公演
• ⅱ. 旣成劇團의 英國劇作品公演
• Ⅲ. 英國劇作의 文學的 受容
• 1. 戱曲飜譯
• 2. 論著飜譯
• Ⅳ. 英國劇 硏究의 軌跡
• 1. 皮相的 단계
• 2. 본격적 硏究의 단계
• Ⅴ. 結論
• Summary