임화의 유학과 연극

Abstract

The purpose of this paper is to reanalyze Lim Hwa’s theatrical activities and their meaning before and after his period of study in Japan (1929-1930). Through this, we can understand the role and significance of theater in Lim Hwa’s growth process and complement the ongoing research on Lim Hwa. If Lim Hwa discovered ‘drama’ as distinct from novels and poetry through Western classic plays, then around the time of joining KAPF, he discovered the ‘true theater’ through his reading experiences related to theater. Furthermore, Lim Hwa came to recognize the potential of theater anew through the domestic performances of KAPF’s Tokyo branch. The role of Kim Du-yong in leading young Lim Hwa to political awakening and enlightenment about theater, eventually guiding him to study in Japan, cannot be overlooked. Kim Du-yong, through the domestic performances and lecture activities of the Third Front in 1927, brought new ideas and a directional shift in KAPF, along with ‘theater’. At this time, Lim Hwa must have been thinking that to learn ‘true socialism’, one must learn ‘true theater’ and go to the ‘fortress’ of his fellow activists in Japan. Lim Hwa studied theater from his ‘teachers’ Lee Byung-chan and Choi Byung-han at the proletarian theater, the ‘fortress’ of theater. After returning to Korea, he harbored the desire to become the ‘father’ of the domestic proletarian theater movement through the formation of Cheongbok Theater and various performance activities. Through his journey to Tokyo, Lim Hwa did not just transform into a ‘father’ equal to Lee Buk-man, but grew into a giant who could differentiate from and surpass him. Lim Hwa was able to go beyond the schema drawn by Lee Buk-man and become a true father through dialectical thinking that did not lose the balance between ‘organizational training’ and ‘theatrical training’, politics and art, faith and emotions.