장호의 시극 진흥 활동에 관한 연구

Abstract

This work is intended to investigate Jang Ho's poetic drama activities on the whole. The study results are summarized as follows. Jang Ho is a representative person who had strived to promote poetic drama by creating works and exploring theories for about 20 years since 1957. From the perspective of the history of poetic drama, he played decisive roles in keeping in existence the life of poetic drama, which was in the vacuum state from the 1940s to 1950s. Also, he broadcasted a radio poetic drama for the first time on December 28, 1961, through HLKV. And, he joined the process of forming 'Poetic Drama Research Association' in September 1959, and Poetic Drama Coterie in June 1963, which was created as a result of expending and reorganizing 'Poetic Drama Research Association'. On Oct. 21 and 22, 1963, at the 1st Poetic Drama Coterie Performance, he performed Port without the Sea 「」in National Theater. As a result, he was recorded as the first person who performed a poetic drama for the first time in Korea. Like this, he made diversified efforts to establish poetic drama and popularize poetry. But, the poetic drama performance ended up being a failure, and he fell into frustration. Accordingly, his dream that he wanted to realize through poetic drama was just half-achieved. That is, his half-success is in the point that he saved the falling poetic drama from crisis and maintained its existence after the 1960s, and his failure is in the point that he neither developed the poetic dram into the third composite arts with high dimension through the mixture of poetry and drama in order to popularize it, nor improved the spirit of the public who were worldly-minded. The biggest cause of his failure was that the genre of poetic drama was so strange to the public. Such a point caused a dramatic defect in his work from the standpoint of a writer, and led to the immaturity of directors and actors who didn't fully understand poetic drama performance from the standpoint of performance. In the aspect, poetic drama performance had the high possibility of failure at the outset. The circumstances led him to give up his deep attachment to poetic drama and to feel that want of it. In conclusion, although Jang Ho's deep interest in poetic drama and his intense activities were left unfinished, it is not fair to say that his ideal, attachment, great efforts were in vain. His artistic curiosity, imaginative power, and sense of duty are precious values that current artists should follow, and his services of overcoming the empty period of poetic drama and making it kept in existence up to now should be highly recognized.