카프의 연극대중화론과 신건설의 바리에테

Abstract

In this article, I traced the “Variety Singeonseol” and the “Cultural Circus Troupe”, the founding works of the Theater Troupe Singeonseol, which have never been noted in the history of proletarian theater until now. In order to confirm those works, which have no information left, the Japanese Shintsukiji Theater's work “Cultural Circus Troupe” was discussed together, focusing on KAPF's theory of popularization of theater. In addition, by discussing Futurism's performance style 'the Variety', and dealing with the perspectives of KAPF's artists, I tried to confirm the context of these works. “Variety Singeonseol” and “Cultural Circus Troupe” are presumed to reveal the theatrical orientation of the Theater Troupe Singeonseol before being censored. 'Variety(Varieté)', the title of the work, is a term that had been transformed into a political performance with dynamics using science and technology in the complex entertainments space where popular entertainments were performed after Marinetti. KAPF's artists discovered new possibility of art through strength, mobility, and destruction in 'the Variety'. They recognized it, a propaganda performance using popular entertainments, as an effective way to acquire and organize the audience discussed in the popularization discourse of the theater. The Japanese work “Cultural Circus Troupe” was a concrete example of how a total performance such as 'The Variety' could be used as a 'tactic' for the popularization of theater. Therefore, it is presumed that those works were planned according to the policy of KAPF's 'the legal within the illegality'. As a 'synthetic performance', Theater Troupe Singeonseol's “The Variety” was a tactic for the popularization of theater, shows the theatrical aesthetics and the method of practice that the troupe aimed for.