1930년대 한일 역사극의 담론지형 고찰 -유치진과 무라야마 도모요시를 중심으로
The Discursive Landscape of Korean and Japanese Historical Play after the 1930s - Focusing on Ryu Chi-Jin and Murayama Tomoyoshi
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The concept and category of Korean historical play is still an issue of debate among the scholars. This paper attempts to explicate the mode and history of Korean historical play by looking at the emergence and development of Japanese historical play that similarly revived and enjoyed its heyday in the 1930s. In particular, this paper tried to contemplate the similarity and difference in the discourse of historical play of Japanese empire and colonial Korea, which emerged in the 1930s with a few years apart. Assuming colonial Korea and Japanese empire as the two forces that operated within the same cultural area, I traced the theatrical world of Japanese shingeki (literally, "New Drama") in the mid-1930s, in which historical drama drew phenomenal attention, Japan's cultural filtering system that sent out its reality and vision to Korea, and the discursive traits of historical drama in Korea's modern theatrical world. By examining and reconstructing the discursive landscapes of Korean and Japanese historical drama, focusing mostly on Ryu Chi-jin and Murayama Tomoyoshi who were one of the most prominent playwrights and drama producers in Korea and Japan respectively, this paper ultimately reveals the historical conditions in which Korean historical drama could exist in line with the logic of cultural field that bound the empire and the colony at the time.
Abstract
The concept and category of Korean historical play is still an issue of debate among the scholars. This paper attempts to explicate the mode and history of Korean historical play by looking at the emergence and development of Japanese historical play that similarly revived and enjoyed its heyday in the 1930s. In particular, this paper tried to contemplate the similarity and difference in the discourse of historical play of Japanese empire and colonial Korea, which emerged in the 1930s with a few years apart. Assuming colonial Korea and Japanese empire as the two forces that operated within the same cultural area, I traced the theatrical world of Japanese shingeki (literally, "New Drama") in the mid-1930s, in which historical drama drew phenomenal attention, Japan's cultural filtering system that sent out its reality and vision to Korea, and the discursive traits of historical drama in Korea's modern theatrical world. By examining and reconstructing the discursive landscapes of Korean and Japanese historical drama, focusing mostly on Ryu Chi-jin and Murayama Tomoyoshi who were one of the most prominent playwrights and drama producers in Korea and Japan respectively, this paper ultimately reveals the historical conditions in which Korean historical drama could exist in line with the logic of cultural field that bound the empire and the colony at the time.
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