김기영 영화미학 형성기 연구 - 연극 활동과 <양산도>(1955)를 중심으로 -

Abstract

This article analyzed Kim Ki-young's theatrical activities and the significance of the movie, <Yangsando>(1955). Researches on Kim Ki-young have found his problematical elements after <The Housemaid>(1960), so his early activities were barely not recognized. As a result, Kim has gained an unexplainable 'exceptional existence' in Korean film history. This seems to have happened because Kim Ki-young's theatrical activities and <Yangsando> have not been specifically reviewed. Kim Ki-young's theatrical activities and <Yangsando> are positioned respectively in prehistory and beginning of his fim career. Hence, reviewing Kim’s theatrical activities and <Yangsando> will provide us that his view toward the world has come from the beginning of artistic activity Kim Ki-young performed at various theater groups during his college years. What's noteworthy is that Kim Ki-young directed Chekhov‘s 「On the highroad」 and Ibsen’s 「Ghost」-both known for its naturalistic tendencies-as expressionism play. 「On the highroad」 and 「Ghost」 depict a human’s general subordination to sexual desire. This common feature is also primary motive of expressionism that has continued in Kim Ki-Young’s film world afterwards. Kim Ki-young then expresses the techniques he developed in his theatrical activities in <Yangsando>. It’s not well-known to public but <Yangsando> is adaptation of <Butterfly lovers(Yang-Chuk story)>. Kim, the adaptor of this film, deals with ‘love’ in terms of ‘sexual desire’ by relegating the narrative and teaching themes of the original text. In addition, this film is not presented in the manner of ordinary realism, which is at the point of being correlated with the expressionistic form of strict anti-realism. Based on his theatrical activities and <Yangsando>, the article looked back at Kim's unnoticed spots trying to reconsider Kim’s “exceptional existence” in Korean film history and to find Kim’s true face.