1950~60년대 연극전문비평 형성 과정에서 종합교양잡지의 역할 -에디토리얼을 중심으로

Abstract

This study aims to find the place differentiating to critics specialized on drama by looking into the articles and the writers on general culture magazines in 1950~60’s. It is revealing the process differentiating from English literature to dramatics and critics on drama. In addition, it is investigating the backgrounds where the creation of the magazine specialized on critics on drama leading to the formation of critics society and the activity of critics on drama were possible. We can better understand the images of 1970’s by looking into the hidden power to make the well-known critics on drama in 1970’s. The periods of 1950~60’s focused on this study are important in the aspect of formation of specialized critics themselves as well as the continuation to 1970’s. The general magazines to be examined for this include 『sasanggye』, 『contemporary literatual』, 『jayumunhak』, 『munhakyesul』, 『sedae』, 『shindonga』, 『space』, and so on. Investigation of editors, main writers, trends of articles on drama critic, role in total lists and features of contents on all magazines showed the characteristics of each magazines and the differences between 1950’s and 1960’s through the summarizing the role and position of drama-related articles. 『sedae』 is the most similar to the magazine specialized on drama in 1970’s by giving the priority to critics on drama during editing. The all drama-related articles can be classified into 4 categories such as Shakespeare, introduction of contemporary overseas drama, academic writing, other public opinion or drama critic. Among them, Shakespeare and introduction of contemporary overseas drama are more important, which is related with the fact that main writers of drama articles on magazines are experts on foreign literatures. O hwa-sub, Yer suk-gi, Lee keun-sam are both scholars of English literatures and professors taking charge of critics on drama. Their changing process shows the differentiation of critics on drama. Notably, Yer suk-gi is important because he exhibits well the differentiation process to critics on drama by his broad activity in literary society in 1950’s~1960’s and the continuation to 1970’s. As these general magazines have strong literary features, these were affected by reconsideration of the status of drama genre, emergence of new critics and indirect experience about the role of critics surrounding the uselessness of the criticism.