호네트의 ‘인정투쟁’으로 바라본 동시대 국내 노동연극: <구일만 햄릿><미아리고개예술극장><굴뚝을 기다리며>를 중심으로

Abstract

Since 2010, the Korean theater scene has experienced a surge of interest in labor, driven by the ex- pansion of the concept of labor and various political events. In particular, various social and political events such as the Sewol ferry disaster in 2014, the National Agricultural Organization in 2016, the Blacklist in 2017, and the COVID-19 pandemic in 2020 have provided major motivations for theater ar - tists to create plays related to labor. Through this, the Korean theater industry has been staging labor issues in individual or company-specific ways and making them real. In fact, labor plays have been ac- tively produced since 2010, with a total of more than 70 plays, and the trend is continuing. However, contemporary labor plays since 2010 have surged not only due to the expansion of the concept and in- terest in political theater. Contemporary labor theater can be interpreted as a struggle for recognition of the value of labor as theater artists reflect on their own lives while examining labor issues. Axel Honnet was a German philosopher who described the workings of human life in terms of the struggle for recognition. Honnet's 'struggle for recognition' is closely related to the labor movement, a movement of workers who crave recognition from others. In particular, the problem of the struggle of manual workers who are not recognized by others can be seen directly as the issue of the 'struggle for recognition'. Therefore, this researcher aims to analyze the characteristics of the expanded con- temporary labor theater from the perspective of Hornet's 'struggle for recognition'. This paper is organized as follows. First, in Chapter 2, the theoretical background, '2.1. Relationship between art and labor' will be examined, followed by '2.2. New documentary theatrical characteristics of contemporary labor plays' and '2.3. Recognition struggle' in Hornet. Next, in Chapter 3, contemporary labor plays viewed through the 'struggle for recognition' will discuss the recognition aspects of different labor plays by separating them into '3.1. Struggle through solidarity: <Hamlet Only for Nine Days>', '3.2. Struggle through the 'body' of female art workers: <Miarigogae Theater of the Arts>', and '3.3. Struggle through the self-awareness of art workers: <Waiting for the Chimney>'. Through this, we will examine the flow and characteristics of contemporary labor theater since 2010 and present a paradigm for analyzing labor theater by deriving recognition patterns.