1920년대 민중 담론과 사실주의 희곡의 변곡점 -김유방, 김정진의 작품을 중심으로-

Abstract

Expectations of the play's utilitarian value, which has been highlighted as a starting point for the 3.1movement, have been focused on the "new play" as a mark. However, despite the epochal value of the emergence of the "new play," plays in the 1920s have been evaluated to reveal distinct limitations of the practice. Nevertheless, plays in the 1920s, which existed as a clear entity, showed a movement of self-renewal, while deepening a certain theme, which was closely linked to the process in which the play for the people gradually gained concrete meaning. The producer of theatrical arts who entered the stage of the struggle for recognition with the 3.1movement wanted to put the people on the instance of recognition, and the people were a comprehensive concept, meaning "maximum number". The first thing that was pointed out as a requirement for the new play in the discourse of the early 1920s was that it was necessary to acquire authenticity through the fidelity of self-expression. However, as expectations for the sociality of art gradually increased and the idea of representing the people's lives emerged, playwrights had to expand their perspective to represent the other's lives. This adjustment process is reflected in the creation of Kim Yu-bang's play, which moves from baegyoja to samchunobagnyang. Also, the point of moving toward structural depictions from superficial depictions of society could be cited as one of the major transitional points in 1920s plays. In order to provide emotional unity to those who gathered in the theater, the realistic representation of the stage required recognition of audience that the plight of the characters was their own story. But the superficial depiction of the miserable lives of the lower classes was hard to identify to the middle-class intellectuals who gathered at the theater in Kyeongseong. The description of the structural contradictions of the colonies serves as a methodology for forming a sense of unity between the stage and the audience. In other words, the largest contributor, the "people of colony," was sought as a way to form a unity between the stage and the audience, which took shape of "farmers" as a representative symbol of "chosun people." Moreover, the surge of the immigrant farmers, highlighted as a social problem, was perceived as a result of the structural contradictions of the colonies, and Kim Jung-Jin tried to portray the exploitation structure and violence of the empire behind the immigration of chosun farmers through guesaramdeul.