한국연극의 공간표현 연구 = THE SPATIAL REPRESENTATION IN THE MODERN STAGE SCENERY OF KOREA

다국어 초록 (Multilingual Abstract)

The stage design of Western concept is considered to have first developed in Korea since the beginning of so-called `Shin Geuk` period, 1910-1930. During this period, permanent western style indoor theatre buildings were built for the first time in Korea. So, as it was in the general aspects of the modern Korean theatre as a whole, the stage design of Korea was also strongly influenced by the modern Western theatre, especially around the time of realism. There were and still are, however, some fundamental differences in the lifestyle and the concept of space between Western culture and Korean culture. There was some considerable lack of understanding of the Western theatre among the Korean theatre practitioners of the time, and also the growing concern for the revival of the traditional theatre space of Korea. Along with these factors, modern theatre of korea had to cope with many problems such as financial matters, playwriting, and technical skill of the practioners. It is quite natural that the stage designers of Korea had to seek there own peculiar way of spatial representations on stage. The realistic stage design of Korean theatre differed from that of the Western theatre in several aspects. The Western realistic drama has been centering mainly around the refined dialogue between the bourgois people sitting in the indoor drawing room. In contrast to this, most of the Korean realistic drama describe the low-class people in `madang`, which is an open ground of the country house. This `madng` is the place of labour where the farmers work. The Korean country-people did not spend much time indoors. And they were to busy working outside to engage themselves in leisured dialogues indoors during the day. In this sense, the concept of indoor box-set of the Western realistic stage, were not very familiar in Korean stage. When they wanted to represent the indoor room on Korean stage, they had to show this indoor space along with the outdoor madang on the same realistic stage, which was a rather delicate and difficult problem for Korean theatre to solve. And this very problem might have been an obstacle to the development of realism of the Korean theatre in terms of the expression of the inner thought and the true feeling of the korean people. This difficulty may also leads to the radical `epic deconstruction` of the Korean theatre since the 1980`s. `The epic deconstruction` -a trend to dismantle time-space constraint of the realistic drama and to turn to the epic narrative structure- begun since the 50`s. In the 80`s, the strong influence of Brecht and the `Madang keuk-a modernized form of Korean traditional theatre` accelerated it. This concept of `epic deconstruction` were embodied on the stage through a scenery of several functional units of platforms, steps, ramps, with assistance of spot lights. This `formal stage` allowed a great freedom of time-space, but had a danger of easy-going filimic mind, departed from the fundamentals of the theatre. In the 70`s and the 80`s, many experiments were made in Korean theatre for the modernization of Korean traditional theatre space. It could be characterized as imaginary, empty, open space. In the traditional theatre of korea, a bare stage with no any stage decor, could create almost limitless stage imagination through various stage conventions. It also allows dynamic interactions between the performer and the audience. In such a traditional theatre space, Korean theatre could dispense with representational, perspective stage scenery on the proscenium stage. The world-wide trend of postmodern theatre also infuenced the Korean theatre in the 90`s. The general characteristics of the postmodern stage can be discovered in the Korean stage of the decade. First of all, images attempted again to return to the abstract and bare stages of the former period. Strong and stimulating images, devoided of any logical relevance to other parts of the scene, were frequently used purposefully to obli