Staging Diaspora－New Theatrical Undercurrents in South Korea－
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This paper examines new theatrical undercurrents in South Korea, by discussing two plays depicting Korean diasporic protagonists whose experiences illustrate the problematic remnants of Korea’s troubled history of the twentieth century. Sun-mee Chomet’s one-woman performance, How to Be a Korean Woman (2013) depicts an international Korean adoptee who returns to Korea to find her birth family and Eun-sung Kim’s play, Sister Mokrahn (2013) features a North Korean female defector’s attempt to settle in South Korean society. These undercurrents of presenting the topicality of the international Korean adoptee and the North Korean defector may entail a positive shift in Koreans’ perspective of ethnic identity toward viewing oneself and others as part of a world–a circle of political belonging that transcends the limited ties of kinship to understand the whole of de-territorialized humanity. Locating the international Korean adoptee and the North Korean defector within Korea’s broad history of social marginalization in oppression, these theatrical productions may reflect Koreans’ burgeoning collective desire to reconstruct post-memory through various cultural products and to reexamine problems of extreme capitalism and urban lifestyle of contemporary South Korean society.
Abstract
This paper examines new theatrical undercurrents in South Korea, by discussing two plays depicting Korean diasporic protagonists whose experiences illustrate the problematic remnants of Korea’s troubled history of the twentieth century. Sun-mee Chomet’s one-woman performance, How to Be a Korean Woman (2013) depicts an international Korean adoptee who returns to Korea to find her birth family and Eun-sung Kim’s play, Sister Mokrahn (2013) features a North Korean female defector’s attempt to settle in South Korean society. These undercurrents of presenting the topicality of the international Korean adoptee and the North Korean defector may entail a positive shift in Koreans’ perspective of ethnic identity toward viewing oneself and others as part of a world–a circle of political belonging that transcends the limited ties of kinship to understand the whole of de-territorialized humanity. Locating the international Korean adoptee and the North Korean defector within Korea’s broad history of social marginalization in oppression, these theatrical productions may reflect Koreans’ burgeoning collective desire to reconstruct post-memory through various cultural products and to reexamine problems of extreme capitalism and urban lifestyle of contemporary South Korean society.
참고문헌 (16)
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