파시즘과 민족사이야기 — 일제 말기 역사극이 ‘민족’을 구성하는 방식

Abstract

According to outbreak of the Sino-Japanese War in 1937, the Japanese ColonialKorea was to be entered into fascist system of wartime. As a result, colonial Koreaplays in the late 1930s were indulged in difficulty by an enhanced control andcensorship. As It was getting more difficult to discover the proper motifs in realismplays, playwrights found a new space of representation, which was just historicalplay. From the late 1930s until 1945, theatre companies competitively performedhistorical plays , which were enthusiastic enjoyed by the audience. The most loyaltyof the audience looked at the repertoires of historical plays about ancient historyincluding the story of Silla. The next loyalty looked at the repertoires of historicalplays about of 'Yi Dynasty', which represented the story of Chosun era. However,the interesting point in here is the followings that historical plays about ancient historydepicted generally positive nation narrative. On the other hand, historical plays aboutYi Dynasty usually depicted negative nation narrative. In historical plays about tale of ancient history, <the Pagoda of Muyoung(무영탑)>,<the Bell of Emille(어밀레종)>, <Prince Ho-dong(왕자 호동)> are especially notable. These works generally represented proud nation narratives, such as the inspiringstory of completing brilliant art works, and the proud story of expanding nation'sterritories through defeating the foreign enemy. Historical plays about tale of ancienthistory were implied the nostalgia about nation narrative of the past, and this pointwas the reason of appealing for the audience to national sentiment. Interestingly,all three works constructed China as the other against the proud nation narrative. These was associated with contemporary context as the outbreak of the Sino-JapaneseWar, but also was associated with Japanese Oriental Studies's discourse which hopeto positioning Japan as the center of New East Asian Order through the otherizingChina. The notable historical plays about Yi Dynasty were especially <the Tale ofChunhyang(춘향전)>, <Donghakdang(동학당)>, <Satgat Kim(김삿갓)>. Especially, JangHyuk-ju's <the Tale of Chunhyang>, which was performed by Japanese theatrecompany Shinkyo in Japanese, exaggeratingly expressed Chosun society's corruptionthan the another versions of <the Tale of Chunhyang> at that time. The performanceof <the Tale of Chunhyang> in Japan combined the contents of Kabuki, and anJapanese actress performed the role of a hero 'Yi Mong-yong', so <the Tale ofChunhyang> was more feminized by these trials. <Donghakdang> stood out Chosun'syangban class and corrupt official's tyranny and greed to emphasize the legitimacyof Donghak revolution. <Satgat Kim> emphasized that Yi Dynasty's the inevitabledecline was natural. In this point, not only playwright's the voluntary recognition has somewhat alsoimplied, but also it was be influenced by the Imperial Japanese the discourse waywhich ancient Korean history was splendid, Yi Dynasty's history was declined. Thiswas also part of the discourse of Oriental Studies of the Imperial Japanese.