이경손 희곡「복사나무 백인 집」연구 －플롯의 갈등 구조를 중심으로

Abstract

This thesis has been written for the purpose to clarify its true meaning, mainly by analysis the Discord Structure with regard to Lee Gyung-son’s Drama Boksanamu Baegin Jib(Cottage rooted by Peach Tree). At the point where it dramatizes the scenery that probable at a rural village, it would be classified as a Realism Work, and at the point where it is ending by her Death remaining unfulfilled the desire of the Heroine herself, its dramatic type is locating at the category of tragedy. As well, at the point since the primary factor that induces to the tragic ending with the heroine is related with the contradictoriness of the traditional society, the motif could be converged as the sociological significance that introspects it critically. In analysis the composition of this Work, it is known that the Writer’s dramatizing ability is reaching at a considerable level. Namely, in view when comparing it with the level of the day, the understanding degree about the dramatic technique of the Writer seems as considerably high level. For example, the point that classified on the stage into both thing to be exposed and thing to be hidden in accordance with the character of scene by dividing the stage into double sectors, also the point that by properly commanding of the attacking point, from the introductory part, not only the tension and discord are dramatically exposing well, but also a kind of analyzingdramatic technique was applied thereat, and the point that by properly utilizing the technique of Beforehand Suggestion, then secure the probability of the event and also endeavored to raise the dramatic persuasive power as its effect, and the point that it used Concealment Plot by treating the fact of the daughter’s suicide as a scene for which some child tells it, and at the final, let the daughter’s craving which persisted a marriage returns rather to her death that composes it as a tragic irony by let the stage-curtain down, thus those conspicuous points are not a little as above. In consideration on these characteristics, it deserves that the recognition with regard to this Work which was almost alienated until now from our drama history should be different. Though it is an One-Act Drama, even if comparing this Work with the other works of the latter part of 1920s, because it is particularly not inferior. Therefore, it is expecting that through this Thesis, an interest in Lee Gyung-son and his works would be stirred in the theatrical world. Especially, in view at the dimension of dramatizing artifice, it is confirmable that the Play was quite constituted with a considerably modern sensibility.