‘삼국유사 프로젝트’ 연극에서의 신화 다시쓰기와 신화의 현재화-"꿈"과 "남산에서 길을 잃다"를 중심으로

Abstract

This paper aims to examine two plays from the National Theater Company's ‘Samkukyusa(三國遺事) Project’ focusing on the intertextuality with myths, the reinterpretation of myths, the rewriting of myths, and the the presentization of myths. What is special about the myth rewriting of Dream is Lee Kwang-Su's dream scene. It uses a fragmentation strategy that overturns the ‘Josin’s dream’ and weaves figures and quotes from different levels. This dream scene connects myths and history, and uses them as a symbol of the real world and history and as a symbolic model of the main narrative. However, Josin's plot and Lee's plot have the commonality of 'dream', but they are more heterogeneous than the allegorical analogy of the two. Myths and historical life clash, and mythical worldview antagonizes the historical perception of pro-Japanese activity. The extremely sensitive issue of ‘pro-Japanese’ overwhelmed the multi-layered semantic structures and mythological symbols. Lost in Namsan consists of metaphorical overlaps between ancient and modern life, trying to give the mythical aura and poetic symbolism to the familiar narrative of sacrifice and frustration of dreams of workers in the age of industrial capitalism. This play presents the dialogue of myth and modern age in which the past and the present refer to each other, reality and fantasy, and the play and reality stare at each other. However, in the way of accepting myths, rather than reinventing mythological motifs and main narrative into organic structure, it used a simple way of connecting the narratives with modern narratives through the subtitles describing myth. Taking motifs from a myth and writing a work does not simply use the myth as a material or an idea, but requires an in-depth analysis of the meaning, structure, and worldview of the myth. It is to recreate the story. The presentization of myth goes beyond the simple acceptance or transformation of myths, and includes the mythical symbols, allegory, mythological narrative structure, cyclical worldview, and archetypes in the context of narrative, so that they can be appeared in modern everyday life. It shows that myths still persist. Just as Samkukyusa contains myths, histories and fantasies, history is born from myth, history creates myth, and present life becomes one of myth someday. In other words, the presentization of myth is achieved when the work embodies that modern life is equivalent to the mythical world.