북한연극의 실태와 원리에 관한 고찰

Abstract

This essay is one of the papers which was presented at the symposium for “The Status and Prospects of North Korean Performing Arts” jointly held by the Society for Korean Historico-Musicology and the Korean National University of Arts on 26th Oct., 2001. This paper includes six subdivisions：1) Introduction, 2) A Historical Survey of the Former Period (1948-1966) and the Late Period (1967- present), 3) An Analysis of “Pau” 바우 (1947) by Han T'ae-ch'ŏn 韓泰泉, “The Conference at Suwŏn” 水原會談 by Hŏ Ch'un 허춘, works by Kim Sŭng-gu 김승구, Ri Tong-ch'un 리동춘, Ryu Ki-hong 류기홍, Kim T'ae-jin 金兌鎭, and Pak Ryŏng-bo 박령보, 4) An Analysis of Works Since 1970s：Dramas by Ri Sŏng-jun 리성준, Han T'ae-ch'ŏn, Shin Yŏng-gŭn 신영근, Revolutionary Musical “P'ibada” 피바다, and Revolutionary Drama “Sŏnghwangdang” 성황당, 5) Intensive Analysis of Works from “Pau” to “Sŏnghwangdang,” 6) Conclusion：Methodo- logy of the National Drama's Style, i.e. the Musicals by the P'ibada Style and the Dramas by the Sŏnghwangdang Style. In conclusion the author points out the characteristics of North Korean drama as follows. National drama (minjokkŭk 民族劇) also called sujective drama (chuch'egŭk 主體劇) would be based not only on the essence of traditional drama, but also on the subjective ideology of North Korea known as chuch'e sasang 主體思想.