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韓國프로戱曲硏究

Title
韓國프로戱曲硏究
Other Titles
(A) STUDY ON SOCIAL DRAMA IN KOREA : With Emphasis on the 1920's and the 1930's
Authors
金星希
Issue Date
1987
Department/Major
대학원 국어국문학과
Keywords
프로희곡프로문학1920년1930년
Publisher
이화여자대학교 대학원
Degree
Master
Abstract
韓國 近代 戱曲史에 있어서 植民治下의 프로戱曲은 정치적 목적극으로서, 이데올로기만이 앞설 뿐 예술성이 없다는 評을 받아왔다. 本 論文은 이러한 기존의 評價를 검토하고 再評價 해보고자 하는데 그 주요점을 두었다. 따라서 프로戱曲의 社會的, 文學的 背景과 戱曲的 構造 類型에 따른 分析을 하고 그에 따른 作品과 社會와의 관계, 作品 內的인 特性을 알아보는 것이 그 목적이다. 내용을 章別로 요약하면 다음과 같다. Ⅱ章에서는 프로文學의 槪念과 性格 그리고 全般的인 考察을 하여 보았다. 즉, 1920年代에 발생한 러시아와 日本의 프로文學史를 살펴봄으로써 韓國프로文學이 어떻게 직접, 간접의 영향을 받아 형성되었는지를 살펴 보았다. 그 결과 韓國프로文學은 日本 프로文學史의 前轍을 거의 그대로 답습하였으나, 한국적인 상황의 인식 (植民地 · 半封建 社會)을 한 文學運動이었음을 알 수 있었다. Ⅲ章에서는 프로文學運動의 중요한 부분이었던 프로演劇運動의 발생과 쇠퇴를 그 理論的 전개와 함께 살펴 보았다. 그 결과 프로演劇運動은 당시의 植民地 狀況 下에서 정치적 목적과 抗日意識으로서의 민중계몽이라는 두 側面을 모두 수행한 演劇運動임을 알 수 있었다. Ⅳ章에서는 프로戱曲 作品을 戱曲的 構造 類型, 즉 主題, 人物, 構成, 臺詞의 側面으로 분석해 보았다. 그 결과 主題面에서는 近代意識의 擴大라는 肯定的인 側面도 있으나 人物, 構成, 臺詞의 面에서는 前近代性과 作爲性을 벗어나지 못했음을 알 수 있었다. Ⅴ章에서는 앞에서 살펴 본 논의를 통해 프로戱曲의 總體的 義意를 살펴 보았다. 그 결과 作品 外的으로는 정치적 목적극이었다는부정적인 면과 民衆演劇을 시도했다는 긍정적인 면이 있음을 알 수 있었고, 作品 內的으로는 近代意識의 擴大라는 긍정적인 면과 劇作術의 限界라는 부정적인 면이 있음을 알 수 있었다. 以上의 논의를 통해 1920,30年代의 프로戱曲은 정치적 목적극으로 또 抗日意識의 劇으로서 植民治下의 현실을 타개하기 위한 作品이었음을 알 수 있었다. 따라서 本 論文은 植民治下의 프로戱曲을 좀더 체계적으로 이해하려 했다는 점에서 의의가 있다고 본다.;In modern history of Korean drama, social drama under colonial administration have been received with the criticism that there was no artistic quality but merely advancing only an ideology with the dramas of political purpose. This thesis is focused on the importance in attempting to examine the existing appraisal as such and then in reassessing the Korean dramas. Therefore, a series of analysis have been made on the backgrounds of social and literary values in the social drama and the dramatic structure patterns, and thus, the purpose was set to examine the related works, the relation with society and the interior peculiarity of works. The contents by each respective chapter are described as follows : In Chapter Ⅱ and observation was made on the concert of proletaliat literatures, the characteristics and the overall aspects of requisite features. That is, by looking into the history of proletaliat literature orginated in the 1920's in Russia and Japan, how the Korean proletaliat literature was directly or indirectly influenced and formed has been observed. As the result, the korean proletaliat literature followed almost the precedents of Japanese proletaliat literature, but it was soon understood chat it was a certain literary movement that perceived the Korean-like situation (colony, semifeudalistic society). In Chapter Ⅲ, the origin and the atrophy of social drama-movement which was an important part of the proletaliat literature movement was examined with its theoretical evolution. As the result, the social drama movement was revealed to be the particular drama movement totally accompanied by the two aspects of public enlightenment as political purpose and anti-Japanese consciousness under the colonial status at that time. In Chapter Ⅳ, the works of social drama were analyzed from the view on the aspects of the patterns for dramatic structure, namely, theme, personalities, composition and speech. As the result, in the view of the theme, it was assumed to be an affirmative aspect such as an expansion of modern consciousness, but in the view of personalities, composition and speech, it was revealed that it could not get rid of premodern characteristic and artificiality. In Chapter Ⅴ, through the foregoing theories the over all significance of social drama was observed. As the result, it was revealed that there is the negative aspect which the plays were turned out to be the purpose of political drama in terms of esterior view of works together with an affirmative aspect which public dramas were attempted. Also, from the view of the works internally, it was disclosed that there was a negative aspect that the expansion of modern consciousness turned out to be che limit of play writing techniques. Through the above discussion it could be understood that the social drama in the 1920's and the 1930's were indeed the very works to break the deadlock of the reality under the colonial government as the drama of political purpose and also as the drama of anti-Japanese consciousness. Therefore, this particular thesis has a significance from the view that a series of analysis have been made to be able to more systematically understand the social drama under the colonial administration.
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