일제강점기 김송 희곡의 검열과 개작

Abstract

In the 1930s, Kim Song, a KAPF(Korea Artista Proleta Federacio)’s writer and theater activist, tried to publish a playbook called 『songs of sorrow at Lakeshore』, but was censored by Empire of Japan, and the <A Tavern on the Border>, A Daughter, and Emptiness were deleted. The reason for the deletion is that they all expressed proletarian class consciousness and socialist tendencies or criticized capitalism. The former's A Tavern on the Border and A Daughter were adapted and included again in 『The Victory or Loss of the Mountain』 published in 1940. The original plays of the two works were published in a literary magazine 『Rookies Literature』 in 1935. In colonial Joseon in the 1930s, they dramatized with the sorrow and poverty of the powerless and poor lower class people who were deceived and exploited by village landlord with farmland or intellectual lawyer with legal power. As a result of comparing the original and modified versions of the two, the lines of the lower class who criticize or deny the world were mainly deleted or purified. In the revised version of A Tavern on the Border, the words ‘police officer’ and ‘detective’, which made the lower class of Japanese colonial era feel anxiety and fear, were deleted, clearly weakening its critical reality and situational tension. Above all, changes in main characters and ending in it were noticeable, and Self－censorship and imperial censorship weakened or obscured the author's fierce sense of class confrontation, which dealt with colonial Joseon reality from a proletarian point of view. Specifically, A Tavern on the Border showed the tyranny and violence of Joseon lawyer against powerless farmer, metaphorizing the absolute power of the law, the state apparatus of the colonial system. However, in the revised version, the character of the Joseon lawyer was changed to rich person Kim, who lives in Gando, weakening the thematic sense of legal power. In addition, the insertion of gun sounds at the end of the play served as a symbol to maintain the tension of the play until the end, but the artist's intention became ambiguous by allowing various interpretations of the subject of shooting and the object of being shot. A Daughter criticized the tyranny of rich person Kim Chambong, a landowner in the village who accumulated wealth through fraud and exploitation of labor to powerless and poor peasants, and capitalism's vulgar situation of selling to prostitute quarters using women as tools of sex. However, in the original work, the father, who saves his daughter from being sold to prostitute quarters and acts to change his miserable fate, is transformed into a weak character who throws up anger and gives a sigh of resignation rather than denying the miserable fate of a father and a daughter, and protesting the reality of and trafficking of women. The attitude of new writing, the ambiguity of symbols and resigned conformity of main character in the revised plays, is part of the attitude of the KAPF writer, whose performances have been suspended several times by imperial censorship, in order to conform to the colonial system of the empire since the dissolution of KAPF.