한국 무대의 독일 기록연극

Abstract

This paper is dealing with the acceptance and discussion of German documentary theater in Korea, and its future direction. German ‘Dokumentarisches Theater’ is translated and used as ‘Girokkeuk’ in Korea. In Germany, since Erwin Piscator had used documents in his political revue(agitative play) in 1920s, Peter Weiss formulated theory in 1960s. Peter Weiss defined ‘Dokumentarisches Theater’ as ‘reportage-play’ which is performed dealing with only documents. Weiss’s principle, “Not to create, without changing the content by collecting the authenticated documents, edit at a certain format, and to reproduce on the stage.”, made ‘Dokumentarisches Theater’ be hard to be accepted as a play. Moreover because of the very offensive and agitative purpose, “Restrain the people who lucrative in fraud(political skullduggery)!” through revealing the truth hidden and fiddled by various media, made it difficult on performance. In Germany, it had been actively performed in 1960s, but almost disappeared from German stage since 1970s. In Korea, Girokkeuk had been written from 1970s, and performed in various forms in 1980s. Though the wind of democratization of 80s had confused theatrical people, they reoriented old values in the close relationship between theater and society. It has necessitated plays of more realistic and direct style. And Girokkeuk was taken as an useful play for clearing the past of Korean society like revealing political corruption. But in Korea, Glrokkeuk performance did not make progress while the boundary line was not clear in form. Although Girokkeuk theory had been introduced by German literature academic circles, it was not properly received in field work. Therefore standard for Glrokkeuk direction was not set manifestly, and the ways of reproducing documents were in a variety. The assessment of Girokkeuk was done according to the realism theater which was the play trend of the time, making an issue of dramatic tension, cause-and-effect relationship and completion. Recently a play which was claim to Girokkeuk caused controversy, because it was considered as a political propaganda and a promotion of a party. Girokkeuk today may be seemed to fall into the bottomless pit as a propaganda play for conservatism, and an old play pushed out by new format. But a new trend Girokkeuk similar to the German new Dokumentarisches Theater has appeared in Korea, trying to recover social function of theater. And daily life politicization work which draws political discussion through personal daily life is progressing, leaping over past political theater that has partiality and resists against specific target. The paradigm of new Girokkeuk will open a forum for discussion to theatrical circle, as indefinite concepts are rationalized by open-mind, open-thinking and the new theatrical view. The new trend of Korean Girokkeuk is left to the next research issue.