1930년대 선전극 연극
Material type
학위논문 동서
Title
1930년대 선전극 연극
Author's Name
Publication
부산: 동아대학교 1997. -
Physical Description
ii,130 P: 삽도; 26cm. -
학위논문주기
학위논문(박사)- 동아대학교 대학원 국어국문학과 1997년2월
Keyword
영문초록 : This study aims at examining the principles of textual multiplicity and revealing their dramatic effect shown in the propaganda play of the 1930s, the social play focused on propaganda rather than on agitation. At that time a worldwide economic crisis followed a series of chaotic imperial wars. In particular, Korea had a terrible time owing to the extreme oppression and exploitation by the Japanese Empire, the appearance of the propaganda play was natural as it served as a means of delivering an ideology to the people to fight with social conflicts. The history of the Korean propaganda play in the 1930s can be summed up as follows. First, Kim Yong-pal(1902~195?)'s (대학생) was the first play to be categorized into the propaganda play. He chose the genre fo monodrama, the prototypical Greek drama of adding epical elements to dramatic structure and breaking the audience's immersion-centered convention. For this alienation effect or 'Verfremdungseffekt', the character was enough as 'Das epische Ich', while the plot tumed epical by retardative motives compatible with each other and the discourse was propaganda-centered (referential, metalinguistic) rather than instigation-oriented (emotional, conative). Second, Song Yong(1903~1979) expanded the dramatic tradition by choosing the genre of satire and irony. He tried to progagandize the KAPF ideology throngh the work (一切面會 拒絶하라), (호신술), and (신임 이사장). His genre, resorting to various irony technics of revealing the reality of oneself and the protagonist, meant to criticize and punish the opponent's fallacy and hypocrisy. The effect of criticism was even more raised by placing farced relief just before the final punishment. Therefore, the induced laughter, stage setting and costume, and the stereotyped action and songs of the cast ironically helped alienate the audience so that they could reasonably realize the reality of the Japanese imperialism and the dependent capitalism. Third, while the KAPF was disorganized in 1935 by the Japanese Empire and Song Yong's works turned into the play of manners for mere entertainment, Chae Man-shik(1902~1950) still managed to practice his own dramatic ideas in the latter half of the 1930s. (祭饗날), he depicted the people's history from the Kabo Farmers' War to the Kimi Independence Movement in 1919. He made use of epical technics, such as Erza¨hler, Das epische Ich, Fra¨ger, and the prolog-epilog structure, to freely comment on the past and the present. Also, he employed a dialectic method of intertwining the plots of action and events in the conflicting structure of opening and closure to let the audience be aware of the die-hard history of the people. In sum, the place of the propaganda play in the history of the Korean drama was successfully filled by three dramatists in the 1930s-Kim Yong-pal's monodrama Song Yong's irony play, and Chae Man-shik's epic play.
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