1980년대 연극계의 ‘인정’(recognition) 발생 기제 연구 -<품바>와 마당극의 경우-

Abstract

The purpose of this study is to consider the conditions for ‘the recognition’ in the Korean theatre in 1980's by comparison of Madangguk and <Poomba>. ‘The recognition’ is the social process that accepts the values and standards established in past into the present time. A play is recognized as a theatre when it meets the standards which are used in the theatrical field. The whole process is called ‘the recognition.’ ‘The recognition’ isn't confined to the aesthetic. It needs ‘symbolic capitals.’ This shows that the artistic values are produced in the social process. Madangguk and <Poomba> in 1980's are good examples that shows the conditions of ‘the recognition.’ They had the characteristics in common as popular theatre in the beginning, the features of performance, the distribution process and the context of acceptance. But Madangguk was recognized as a progressive experimental play, while <Poomba> was so disregarded that no one write a criticism. What was the difference of the two? First of all, Madangguk came from the college theatre and <Poomba> was started as a local theatre in Muan, Jeollado. Though both were the amateur theatres, each position was quite different. The college theatre was a preliminary main theatre, but the local theatre belonged to a fringe group excluded from the criticism. Madangguk and <Poomba> were alike in that they were not the objects of particular criticism. But Madangguk wasn't excluded from the discussion of the mainstream, whereas <Poomba> didn't get an evaluation at all in any form. Each realism got different evaluations, too. Madangguk drew attention for its extreme realism, but <Poomba> didn't in spite of its background, the Gwangju Uprising. I find the partial cause in the fact that the realism of Madangguk could be explained in the light of the western theories such as the theory of epic theatre, etc., but <Poomba> didn't got the theory that could explain it. It was the important standard weather a play had such theory or not in 1980's and a work of recreation of the tradition was regarded as the significant new attempt when it involved the characteristics of the western experimental theatre. In addition, the character of ‘playing’ was remarkable in <Poomba>, of which was waried by the mainstream. Playing or popularity in the recreation of the tradition was the main target of criticism, for which was regarded as aesthetic flaw. Poomba didn't have another theatrical capital, while Madangguk had the features of intelligent theatre in addition to popularity. Madangguk had the dual aspects, the one of the popular theatre and the one of the main theatre. It shared the characteristics of the mainstream, at the same time it had the possibility of betrayal against it. Its progressiveness lay in its popularity, not in its political motif. This dual identification made its popularity the target of continual criticism, while the popularity of <Poomba> didn't drew critical attention. On this basis, the popularity of Madangguk could be recognized as the unique feature of it. <Poomba> shows that a play without another theatrical capital is excluded from the criticism.