최인훈 희곡에 나타난 공간의 의미구조분석 = (The) role of the stage's function and the meaning on it in Choi in hoon's play's

국문 초록 (Abstract)

作家 최인훈 은 1960년 4.19 革命으로 樣相이 달라진 社會가 急變하는 狀況에서 이데올로기의 問題를 正面으로 다룬 「廣場」을 發表함으로써 '參與文學'의 문제를 새롭게 대두시킨 작가이다. 그의 代表作 「廣場」은 상반되는 이데올로기의 문제를 「廣場」과 「密室」의 상징체계로 전개시켜 讀者나 知識人에개 대단한 衝擊을 안겨 준 作品이다. 政治性이 文學性 보다 더 比重이 컸던 1960년대의 그의 모든 小說속에 은유화 되어있는 「廣場」과 「密室」은 當時 4.19 熱風 후 젊은 층에 擡頭한 새로운 問題意識을 表面化시킨 의미를 지닌다. 최인훈의 小說에서 反復되는 主題는 언제나 「密室」空間을 튀쳐 나와 廣場으로 나아가는 變化를 보이지만 거기서 다시 挫折하고 또다시 密室을 選擇할 수 밖에 없는 과정을 거듭하고 있다. 이러한 小說 主題의 反復은 　曲으로의 장르 移行의 必然性을 導出하게 한다.
그의 첫 번째 戱曲인 「어디서 무엇이 되어 만나랴」는 平壤城이라는 空間과 산속의 空間으로 構築되어 있는 데 이 두 空間은 수직적으로 공주궁과 통나무 집으로 連結되어진다. 이 두 空間은 占領되어진 空間과 占領하려는 空間으로 의미화 하는 바, 어느 한 領城이 힘에 의해 占領됨으로서 旣得權者들에게 균열과 갈등을 일으키게 되는 것이다. 對立 空間으로 兩分된 葛藤의 結末은 敵對 勢力에 의한 主人公의 죽음으로 歸結되는 것이다. 공주궁과 통나무 집은, 前者가 휘장으로 가려진 닫힌 空間으로, 人爲的인 文化的 空間인데 비하여 산 속의 통나무 집은, 後者는 열린 空間으로, 自然的 空間으로 形成되어지면서 서로 對立關係에 놓이게 된다. 結局 이 두 空間은 象徵的으로 和合을 이루는 것 같으나 온달과 공주가 죽음으로 解決되는 바, 小說에서 密室을 벗어나 廣場으로 가는 移行과정에서 破局을 맞게 되는 作家意識이 戱曲에서도 一貫되게 나타나고 있음이 보여진다.
「달아 달아 밝은 달아」는 舞臺위에 形成되어지는 空間의 對立構造가 뚜렷하게 나타나지 않고 「어둠」과 「밝음」의 明暗에 의한 空間의 對立을 보여 주고 있다. 이것은 內的 自我의 心理表現으로의 空間 構造가 形成되어 지고 있음을 드러 내 준다.
舞臺 밖의 空間으로 作家는 판소리 「심청가」를 收容하여 傳統劇의 現代的 收容과 우리 民族의 集團 無意識을 形成하고 있는 孝의 問題를 페로디화함으로써 葛藤 構造를 極大化 시키고 있다. 밝음의 空間이 어둠의 空間에 의해서 占領되는 것은 精神的 價値가 物質文明에 의하여 消滅되어 가는 産業社會로 移行되는 過程에서의 社會 構造的 矛盾을 드러내 준다.
「어디서 무엇이 되어 만나랴」와「달아 달아 밝은 달아」의 戱曲 텍스트를 分析한 結果 小說속에서의 作家 意識과 一貫됨을 確認할 수 있었다.
作品世界를 確認하여 볼 수 있었다는 것이다. 다만 소설의 主人公들과 比較할 때, 戱曲의 主人公들은 悲劇的인 破局을 맞게 되지만, 戱曲쟝르의 다층적 表現에 의하여 마지막 장르에 의한 和合을 表象함으로써, 挫折된 現實속에도 꿈으로 理想을 追求하는 바, 그의 戱曲은 보다 和解로운 調和를 摸索하고 있음을 보여 주는 것이다.

다국어 초록 (Multilingual Abstract)

Choi In-Hoon, a dramatist and novelist contributed to the Korean Literaty Group as he wrote "The Kwang Jang ( A Square)" in which he expressed problems of idelology causing the rapidly changing society being resulted by Revolution at 1960 and he cioned a new literary tides of participating fictions. "The Kwang Jang (A Square)" was the best works, shocked greatly the readers or intellegentsia owing to dealing whit the contrary ideology in prohibiting expressions in that situation in 1960's. "The Gwang Jang ( A Square )" and "Mil Sil ( A Closet )" expressed all his works in 1960's, when the intention of politics was considered more important than the literary intention at that time, have been brought to the surface a new critical mind appealing to the young class after 4.19 Revolution.
We can see that the theme in Choi In-Hoon's novel is the alteration from "Milsil ( A Closet )" to "Gwang Jang ( A Square)", discourage again there, and is repeation the process to be forced to choose the "Mil Sil ( A closet )" again.
Such a repeating theme in his novels make the necessity to move on a drama genre take out.
「What will be, where are we going to meet again?」, his first drama is set the space of "Pyung Yang Song "( A Palace ) and the space of "Deep in the Mountain" and these two space connected vertically with "Princess Palace" and "A Log Cabin".
These two space which separate the space to be occupied and space to occupy, as one space conquer the others by forces, so it cause a cleave to the latter, would be reached a death by other enemy. "The Princess Palace" and "the Log Hut" have antagonistic relationship each other as the space closed with the curtain and the latter is formed with a open space and a natural space.
Finally these two space look symbolically like hormonizing, but we can recognize that the author thought presenting weakness is consistently coming out in his works as On Dal and Princess is died with them shed blood in a corner going to "Gwamg Jang" ( A Square ) out of "Mil Sil" ( A closet ).
「Moon! Moon! A Light Moon!」don't clearly appear the border line of space to be formed on the stage and is set the border line of space by means of "Darkness" and "Lightness" This is seen to be made up the structure of space in psychologicaol view of Freud which is showing psychological state in internal Ego.
The author made Pansori ( Korean Theatrical Song ), "Sim Cjpmg Ga" enter the stage as outer-stage space, so he made the space on stage and complict plot have on greatest effect as he made an aspect of traditional drama ( Pansori ) and outer-stage space which mean that our nation have been absorbed in "Filial Piety" and "Ethics" set with symbolical space.
The space of "Lightness" occupied by space of "Darkness" is confronted with space of mental ideal which is going to be ruined owing to the material, so we can associate our ideal bcing occupied in realistic society to change rapidly into industrial society.
We cann't see the transition of author thought included in Choi In-Hoon's novel's in the text of 「what will be, where are we going to meet again?」「Moon! Moon! A light Moon!」but we should concretely be able to see consisitent world of words.
The main character of his play only died or was unhappy in regard with the main character of his novels. But we can see that his drama would be to hormonize in his drama works, 「What will be, where are we going to meet again?」「Moon! Moon! A Light Moon!」, as if On Dal's mother waited for died On Dal and a blind Sim Chong waited for Mr. Kim, a ginseng trader with a broken half millor watched.
His drama,「What will be, where are we going to meet again?」is set a narrative. 'Foolish On Dal" as out-stage space and confronted with space of 'Pyung Yang Song " ( A Castle ) " and space of 'On Dal's house In Deep Mountain" in his work : 'Pyung Yang Song ( A Castle )" = A Curtural SPace", 'On Dal's House In Deep Mountain" = 'A Uncurtural Space". These two space is wholly meaning the model of people fighting against a critical sense on his own identity, and we can see the main character's complicts between a civilized lives and uncivilized lives of a indivedual lives and a national benefit of group class.
「Moon! Monn! A Light Moon!」is set the border line of space to a darkness and a lightness and its stage is moved from space abstracted as the processing laboratory of Freudian stage which is run crash and is confronted with instinct called psychologistic complex and Ego to the concretized space, so it is showed tragic end as he wrote the process of falling of mental thinking by means of materal thinking.
But the conclusion of choi In-Hoon's play through these two works is showed two meaning sublimated as a love and the amicable beyond a tragic death, a breakdown, and defeat to the audience. This added to the symbolical meaning : the fact that the play make the audience find out the symbolical meaning based on the present point of view.

목차 (Table of Contents)

• 목차
• <國文 槪要>
• I. 序論 = 1
• II. 장르 移行의 時代的 意味와 『공간』 = 6
• 1. 現實과 理想의 변증적 關係 = 6
• 2. 장르의 克服과 그 限界 = 12
• III. 戱曲에 나타난 空間 技能과 그 意味 = 19
• 1. 空間의 戱曲的 意味 = 19
• 2. 『文化 空間』과 『自然 空間』의 對立 : 어디서 무엇이 되어 만나랴 = 25
• 3. 『理想』과 『現實』의 對立 空間 : 달아 달아 밝은 달아 = 45
• IV. 結論 = 62
• <參考文獻 > = 66
• = 70