남성성의 해체 양상 -2000년대를 전후한 남성 극작가들의 작품을 중심으로-

Abstract

This Thesis attempts to examine the phenomenon of deconstruction of masculinity as appears on the works of four Korean male playwrights around 2000: Yoon Dae-sung, Jang Jung-il, Park Keun-hyung, Yoon Young-sun. As Studies of Feminism reaches certain points, discourses of Masculinity began to draw attention: Is male sex a still domineering gender in a society and a family? Patriarchy still works now? In korea, as is the case with other traditional cultures, patriarchy sustained the orders of families and society. However, I.M.F. of 1998 threatened the patriarchal status of men and the paradigm-shifted post modern society began to require emotional and subtle abilities of women rather than traditional male physical power. Korean nobles and movies of these days often utilize these themes, but mostly with the viewpoint of female-subject . Considering this, It is noticeable that some Korean male playwrights began to reflect on the natures and present situations of masculinity, manliness, or patriarchy from the perspectives of male subject-author. Yoon Dae-sung portrays ego-centric, pessimistic and week-minded husbands who no longer believe in women, marital partners, marriage, and life itself. They wish peaceful lives devoid of nagging wives, duties for selfish children. They detest boredom and voidness of marriage lives and even dream of committing suicide, a forever rest from meaningless matrimonial lives. Jang Jung-il, also a controversial novelist and poet as well as playwright, recently published Sun and Moon, a historial fiction based on the Chinese Historical Record by Samachun. In this play, a prince Buso, who was outcasted by his own father King Jinsi, a notorious and powerful dictator of 2nd b.c. China, flied to the fringe district governed by general Mongyam. Disillusioned and abhorred by endless power struggling between male creatures, the prince leads a peaceful and elegant life writing poetry and creating things. Finally, with the help of the medicine he made, the prince decided to change himself to turn to be a woman. He dances to Beethoven's Moonlight Sonata saying “I'd like to be a woman, damped by moonlight...” Park keun-hyung, in a series of his plays, mocks and overturns the hierarchies of patriarchy and pure-blood of family histories. In Genealogy of Family he explores how three or four generations of a family, proud of family history, actually consisted of disgraced and shamed marriage and childbirth. The seemingly dignified ancestors were wife-bitters, abused and forsook a vietnamese wife during the vietnam war, an aphrodisiac drug users, and even offered hs own wife to Japanese business partner. Father of Kyung-sook portrays a selfish, braggart, and flirting father from the eyes of a daughter Kyong-sook. During and after the Korean war, the father left family, transfer his wife to his friend, fell in love with a suspicious woman, etc. However, The forsaken Wife and daughter show love-and hate attitude toward the father. Yoon Young sun's Trip describes long time no see middle aged elementary school friends who gathered to make a trip to the funeral ceremony of a friend just dead. They laugh, boast, and say obscene jokes on the way to the funeral place but they do not have any interests or informations of the deceased friend. One of the friends, Yang-hoon, a taxi-driver, reveals emotional unstability and suddenly bursts into a mysterious nervous break-down. These Plays mentioned above successfully imply insecurities and deconstruction of traditional patriarchy, manliness, masculinity, and male identity in Korean society and family from the viewpoint of male author and male subject.