한국현대인형극에 관한 질적 탐구 -2025 춘천세계인형극제 국내작품을 중심으로-
A Qualitative Study on the Korean Contemporary Puppet Theater -Focus on domestic works of the 2025 Chuncheon World Puppet Festival-
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초록
이 연구의 목적은 한국현대인형극에 관해 질적으로 탐구하여 그 현황과 전망을 살펴보는 데 있다. 2025년 춘천세계인형극제에서 공연한 국내 작품들은 한국현대인형극을 대표하는 측면이 있기에 이를 중심으로 분석하였고, 이를 보완하는 측면에서 춘천인형극제나 국내에서 공연된 의미 있는 인형극 공연을 포함하여 살펴보았다. 그 결과 한국현대인형극의 현황은 첫째, 창의적인 인형극의 지평이 확대된 것으로 보였다. 가령, ‘우리 현실을 반영한 독창적인 미장센’이 나타났고, ‘국외 텍스트를 새롭게 해석한 인형극 작품들’도 있었으며, ‘1인극으로 진행하는 테이블 인형극의 성장’이 이루어졌고, ‘훌륭한 야외 인형극의 확산’이 관찰되었으며, ‘대상 친화형 인형극의 등장’이 주목할 만했다. 둘째, 전통문화와 인형극의 만남 확대라는 흐름이 감지되었다. 셋째, 인접 장르와 경계를 넘어선 융합 현상이 심화한 것을 발견하였다. 다음으로 한국현대인형극의 전망으로는 첫째, 한국적인 현대인형극의 지평 열기가 가능할 것으로 보였다. 둘째, 전통문화를 창조적으로 계승하는 인형극이 더 많이 제작될 것이고, 셋째, 세계인형극계를 선도하는 현대인형극 공연이 만들어질 것으로 전망되었다.
Abstract
The purpose of this study is to qualitatively explore Korean contemporary puppet theaters and examine their current status and prospects. Domestic works performed at the Chuncheon World Puppet Festival in 2025 were analyzed centering on the aspect representing Korean contemporary puppet theaters, and in terms of supplementing this, they were examined including the Chuncheon Puppet Festival and meaningful puppet theaters performed in Korea. As a result, it seemed that the current status of Korean contemporary puppet theaters. First, the horizon of creative puppet theaters was expanded. For example, 'original mise-en-scène reflecting our reality' appeared, there were 'puppet works that newly interpreted foreign texts', 'growth of table puppet theaters conducted as one-person plays', 'the spread of excellent outdoor puppet theaters' was observed, and 'the emergence of object-friendly puppet theaters' was remarkable. Second, the flow of expanding the meeting between traditional culture and puppet theaters was detected. For example, the aspect was explored by dividing it into 'the case of meeting at the narrative level' and 'the case of meeting at the puppet level'. Third, it was found that the convergence phenomenon that crossed the boundaries with adjacent genres intensified. Next, the prospect of a Korean contemporary puppet theater was that, first, it was possible to open the horizon of a Korean contemporary puppet theater. For example, it was expected that 'the grand theater puppet theater' and 'the production of puppet theater works that promote meta-thinking', 'the creation of works considering the audience's eye level', and 'the expansion of the puppet theater world for adults' were expected. Second, it was expected that a puppet theater that creatively inherits traditional culture would be produced. Third, a modern puppet theater that leads the world puppet theater will be created. For example, it was expected that Korean contemporary puppet theaters would develop through 'expansion of performances in collaboration with foreign theater companies and actors' and 'leap of junk art puppet theaters'.