카자흐스탄 고려인 희곡의 고전 수용 양상과 의미

Abstract

The purpose of this paper is to examine how the Korean classics were embraced and what their meanings were in performances of Kareisky in Kazakhstan during the 1930s and 1980s. Various classics are involved in Kareisky’s performances in Kazakhstan such as <Chunhyangjeon>, <Shimchungjeon>, <Heungbujeon>, <Hong Gilbangjeon>, <Byeoljubujein>, <Oknumong>, <Yangbangjeon>, <Baebijangjeon>. In the early days of forced migration, these works remained somewhat faithful to the theme or meaning of the original work. However, as adaptation of the works were repeated, ideology and People's Empire were emphasized. Kareisky artists have adapted Korean classics in order to be faithful to the welfare and the people, according to the claim that this results in good work, and that works should be created this way. Moreover, beyond conformity and resignation, Kareisky themselves were active in the creating performances with the Soviet party ideology. Like this the Kareisky artists showed an obsession to faithfully follow the literary program and ideology in performances, to become true citizens of the Soviet Union. It is hard to see, however, that they abandoned their national identity and intended to have a full identity as Soviet citizens. Before the opening of the Soviet Union, the forced migration in 1937 was a subject of desire of violation and fear which may be caused from it. The Soviet authorities thoroughly monitored the Kareisky and many Kareisky intellectuals were executed. So for the meantime the Kareisky had to adapt to the system and resign. To escape this fear, the Kareisky sought to prove their patriotism by thoroughly conforming to the system. So Kareisky dramatists had no choice but to change our classics. Kareisky used Russian, the language of Kazakhstan where they settled and mother tongue as their language. Despite the many languages they use, performing in their native language can be seen as an active stage work to restore national identity, which is the value of the Korean people. The stage work of these Kareisky expressed in depth the cultural resistance of performances against the dominant discourse or the power structure.