극예술연구회 제1기의 번역극 공연인식과 그 의미

Abstract

This paper is aimed to examine the performance perception of translateddrama on the theatrical company, Geugyesulyeonguhoe of first stage. TheGeugyesulyeonguhoe of first stage was from the May in 1932 to Decemberin 1934 and they performed 11 translated dramas and 2 creative works. The Geugyesulyeonguhoe was founded by Hong, Haeseong's strategy offraming. He quitted the movement of Chukiji little theatre in Japan andcame back home on June in 1930, only to fail in settling down in thetheatrical world of colonized Chosŏn. He defined the movement of moderndrama which had been done till that time as 'wrong movement' and madehimself stand out as the suitable person who promoted 'new movement ofmodern drama'. The Geugyesulyeonguhoe centering Hong Haeseong established the aim ofcreating modern drama of colonized Korea by means of performing translateddramas. The Geugyesulyeonguhoe of first stage was the time of 'performingcentripetal translated dramas'. In other words they claimed that the theatricalworld of colonized Korea should try to perform creative drama modeling thetranslated dramas which they had performed. However their performance produced the results contrary to the aim theyhad established at the beginning. Its because their performance had little newinterpretation when they chose the classic works, and they often performedother works than the representatives of the dramatist whom they selected,which made themselves fail to come up with the models. Eventually the theatrical people of coloniozed Korea were disappointed atthe performances of Geugyesulyeonguhoe and became critical with them, sotheir strategy of framing came to lose its effect. Hong Haeseong representingthe Geugyesulyeonguhoe of first stage left it and the other people ofGeugyesulyeonguhoe began to find new direction.