1940년대 국민연극과 친일협력의 논리 －유치진을 중심으로－

Abstract

This paper, first aims to reconstruct Ryu Chi-Jin's 'theory of national theatre' through his activities and writing in 1940s, who was one of the most significant figures representing the field of new theatre in the late Japanese colonial period. Based on this, it tries to explore the internal logic of an intellectual who had been absorbed into the field of pro-Japanese actions and mentality. It is an extremely delicate matter to determine whether Ryu Chi-Jin's pro-Japanese activities derived from his complete identification with the Japanese empire, or they were temporary actions that came out of enforcement. However, this paper focuses more on tracing the internal 'tension' and 'fissure' that his drama theory and dramatic practice have, within the theatrical landscape of that period and the logic upon which the theory of national theatre was established than passing judgment on Ryu Chi-Jin's pro-Japanese activities. It is an attempt to discuss the pro-Japanese literature and national theatre from a perspective that is different from judging them by the standards of binary opposition such as pro-Japanese ideology against nationalism or collaboration against resistance. It should, however, not be identified or confused with the attempt to relieve him of any responsibilities he has for writing an pro-Japanese literature. He speaks out his voice in the 'theory of national theatre' that was published in media and the writer's note or synopsis that were attached to the script of Heungnyong River, The Army Northward and The Chinese Date Tree. Although these writings were mostly propagandized statements, they exposed his true feelings and intentions. He justified his logic of moving away from the 'theory of new theory' that had been his belief since 1930s to the 'theory of national theatre.' It is clear that his 'theory of national theatre' is a repetition of the discourse of national subject supported by the logic of Greater East Asia Co-Prosperity Sphere and that of 'Naisen-ittai(Korea and Japan as a single body).' It was also a cultural logic of a colonial intellectual who awaited the interpellation of the empire. However, the logical gaps in a number of Ryu's theatrical theories reveal the ambivalent interiority of a colonial intellectual, who could not identify completely with the logic of 'Naisen-ittai(內鮮一體)' and the state-controlled art practice.