1900년대 연극개량운동과 근대국가 만들기

Abstract

The purpose of this paper is to explore the modernity in the theatre reform movement in 1900s. Specially, the issue of the advent of the modern nation state is addressed in relation to the theatre reform movement. In addition, this paper discusses the aspect of theatre reform movement of Hyeopyulsa(협률사) and Wonkaksa(원각사), its relevance to the formation of the modern nation state, and Yi In-jik(이인직)'s role who was actively involved in theatre reform movement of Wonkaksa. We are led to the following conclusions : First, Hyeopyulsa was apparently established faced with the 40th anniversary of Kojong(고종)'s enthronement as the king of Chosun Dynasty(or the emperor of Daehan Empire state). However, the real motivation was to recover the lost authority of the dynasty and to achieve the national consensus. Second, Hyeopyulsa was conducting of reform-oriented movements with respect to the traditional performance such as pansori(판소리), mask dance(탈춤), royal court dance(정재). Third, Hyeopyulsa was criticized by the nationalist newspapers, which were Hwangsung Sinmun(황성신문), and Daehan-maeil Sinbo(대한매일신보), as being lack of the execution of the notions such as ‘nation’ or ‘people’ in its performance. Fourth, the establshment of Wonkaksa was politically motivated by Chosun Tonggambu(조선통감부, Japanese Supervision department of Chosun) and Yi Wan-yong(이완용) cabinet. The Japanese Meiji government attempted to remodel Chosun's tradition of theatre in the spirit of Japan. Fifth, Yi In-jik seemed to have a substantial knowledge of Japanese theatre reform movement. For this reason, he became the person-in-charge of the establishment of Wonkaksa. Sixth, in general, the nationalist newspapers criticized the theatrical performance of Wonkaksa since they recognized the underlying motivation of the theatre reform movement as a way of Japanese scheme of Korea colonization.