북한 연극 <오늘을 추억하리>의 이데올로기와 정동

Abstract

The North Korean theatre, as a socialist drama, structures the obsession for transparency. The dialogue is clear, and the configure of figures is divided into a dichotomy of a hero and a anti-hero, and the plot is not ambiguous. For the purpose of manipulating and programming audiences, monologic language, characters, and stories are conveyed. It is common aspects that uniquely appears in the North Korean theatres including Remember Today, the manifestation of political ideology on national patriarchy through gender politics as well as the attempt to convince a people’s democracy through the process of imitating and rehearsing a fictional character and revolutionary hero in the real world. However, it is impossible to believe that North Koreans can fully master the elements of the ideal self embodied through the theatre under the direction of the country's Communist Party. The elements of affections and emotions expressed along with spectacles on the stage can not be easily standardized, totalized, and neutralized as the Party's doctrine, because they depend on the physical perception of the audience. Even though they cannot completely overturn North Korean government, the elements of affections and emotions that are evoked on the stage of Remember Today, such as laughter, pain, fear, and compassion, are potential factors in cracking the clarity of message, plot, and heroic status. There is a possibility of a dynamic and universal acceptance process in which the North Korean people can dialogue and negotiate with the propaganda of the regime without accepting the propaganda as it is. There is a possibility that a new aspect of politics may appear in the place where the political message disappears by enjoying aesthetic pleasure, apart from the power relations demanded by the revolutionary ideology of North Korea. The North Korean theatre is a special theatre of North Korea that follows the doctrine of the North Korean Communist Party. At the same time, it is no different than any other play, except for the limitation of being done in North Korea. It is also a universal 'theatre' in which, according to their physical perception, audiences rewrite the plural meaning that can not be reduced to the intended message of the theatre.