연출가 이해랑의 사실주의 연극 인식에 관한 일고찰

Abstract

It is not too much say that Korean theatre has been fighting with the realism during over the last hundred years. Since we have accepted the western modern theatre –which means a theatre staged in the proscenium stage- through Japan in the early 20th century, we have been struggling to grasp the concept of what the realism is exactly about. The western society has been developing its own evolutionary steps related to the realism style: From the so-called fascimile realism which focuses on the relation between human hereditary and environment in the late 19th century, the psychological realism which aims to bring the light on the inner reality of the text in the 20th century, to the modified realism which ends up mixing even a fantasy and a dream in the 1940s. However, Korean modern theatre could not wholly understand this western evolution of the realism until the 1950s, because Korea accepted the realism theatre from Japan under its colonial period. Not knowing deeply on the realism aesthetic, what's more, Korean theatre has even started exploring the anti-realism form since the 1970s. Although the theatre scholar J.L. Styan says that the“realistic is a slippery term in dramatic criticism”, the arguments on the discourse of the realism has never stopped during the last century. That is why there has been such a long deep arguments regarding to the realism in Korean theatre criticism, and Lee Hae-rang, considered a great master of the Korean realism theatre, is always discussed in first on this argument. As one of the early modern theatre directors succeeding Hong Hae-sung and You Chi-jin, Lee occupies in exceptional place in terms of keeping and pursuing the legitimacy of the realism: They all thought a realism as an ideal alternative theatrical form, however, Hong reached a compromise directing Shinpa and melodrama, and You had a much wider and diverse interests such as broadway musical. It is conservative to say that Lee devoted his life to reach the ideal realism theatre. In this context, this study focuses to seek the fundamental entity of Korean realism theatre by looking back the history of Lee Hae-rang’s theatre.