Documenting Stage Censorship and Ki Kuk-Seo’s Hamlet
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Productions of Shakespeare’s revenge tragedy Hamlet have engaged with Korean politics since the 1980s. The inception of politicizing Hamlet was Ki Kuk-seo’s renditions (1981, 1982 and 1985) of the tragedy at a time when a playwright must jeopardize his or her life to write about contemporary political realities, the Gwangju massacre or the murder of the president Park Chung-hee, because there were suspicious deaths and tortures. Even if a playwright attempted to address contemporary political issues, such a script could not pass the stage censorship of KPPEC that silenced “rebellious” or “decadent” artists from 1975 to 1988. However, any Western classic work was unlikely to be suspected of being used for a contemporary political purpose, at least, from the perspective of governmental officers. Ki Kuk-seo chose Hamlet for disclosing what was hidden by the then authoritarian government and reflecting on the bloody history of the early 1980s, as he believed that the Shakespearean play included those materials that naturally matched the contemporary Korean politics. This essay investigates the Korean political context in the 1980s and shows how a politically safe text as believed by KPPEC became a dangerous one. Ki’s Hamlet reflected Chun Doo-hwan’s early reign of terror with its portrayal of Hamlet as a defeated young man. Not only its political nature, Ki’s brave experiment (deconstructing Shakespearean text to create his own script) influenced his contemporaries to look upon Shakespeare’s writing as raw material that can be treated as a malleable aesthetic resource.
Abstract
Productions of Shakespeare’s revenge tragedy Hamlet have engaged with Korean politics since the 1980s. The inception of politicizing Hamlet was Ki Kuk-seo’s renditions (1981, 1982 and 1985) of the tragedy at a time when a playwright must jeopardize his or her life to write about contemporary political realities, the Gwangju massacre or the murder of the president Park Chung-hee, because there were suspicious deaths and tortures. Even if a playwright attempted to address contemporary political issues, such a script could not pass the stage censorship of KPPEC that silenced “rebellious” or “decadent” artists from 1975 to 1988. However, any Western classic work was unlikely to be suspected of being used for a contemporary political purpose, at least, from the perspective of governmental officers. Ki Kuk-seo chose Hamlet for disclosing what was hidden by the then authoritarian government and reflecting on the bloody history of the early 1980s, as he believed that the Shakespearean play included those materials that naturally matched the contemporary Korean politics. This essay investigates the Korean political context in the 1980s and shows how a politically safe text as believed by KPPEC became a dangerous one. Ki’s Hamlet reflected Chun Doo-hwan’s early reign of terror with its portrayal of Hamlet as a defeated young man. Not only its political nature, Ki’s brave experiment (deconstructing Shakespearean text to create his own script) influenced his contemporaries to look upon Shakespeare’s writing as raw material that can be treated as a malleable aesthetic resource.
참고문헌 (20)
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