친일연극 연구 정전 다시 읽기-서연호의 『식민지 시대의 친일연극 연구』와 유치진의 사례를 중심으로

Abstract

Seo Yeon-ho's Pro-Japanese Theater Study in Colonial Era can be said to be the first research book in Korea on pro-Japanese theater and objective drama in negative, critical, and reflective meanings. It could be said to be the beginning of pro-Japanese theater research. Pro-Japanese theater by korean theatre directors, playwriters is ‘bad blood’ and a bad memory in the history of Korean modern and contemporary theater. Until now, pro-Japanese theater has been glorified, and its mistakes have been hidden. Distorted memories become the mainstream, and this is also a war and struggle between memories and oblivion for us. The study of pro-Japanese theater is a task that enables us to rewrite the meaningful works of the previous generations authors proudly. What we need to do this is to be healthy enough to not be bound by the wounds of the past. For example, as pro-Japanese theater persons insist, “It seems that we have foreshadowed that we have no choice but to do the purpose-built drama required by the times in the future and tried to suggest that direction. Under the colonial rule, even if I write a national policy forced by the Japanese imperialism, why shouldn't I have to do high-quality art work? For this, the academic health of studying pro-Japanese theater and pro-Japanese theater person should absolutely be prioritized. That is the work that this book by Seo Yeon-ho gives us. This is the reason why this book is the beginning of the study of pro-Japanese theater and not the result. What is clear is that immediately after liberation, the problems of pro-Japanese liquidation, including pro-Japanese drama, turned into failure. For the history of Korean theater, the issue of pro-Japanese theater and pro-Japanese theater requires a different approach. It is no longer a matter of judicial punishment, but a question of value norms. The problems of foreign partners are not limited only to the period of Japanese occupation, but have become a problem that must be dealt with in a long-term, continuous and open manner throughout modern and contemporary history. It is necessary to understand why the pro-Japanese theater act that brought the community to hell took place, and that there is a need for an internal agreement that this act should not be repeated again.