한국희곡의 동양지향성과 오리엔탈리즘

Abstract

The purpose of this article is to examine the meanings of the tendencies for the East were appeared in the streams of modern Korean plays in 20th century. Especially, this trends of the oriented the East mainly apperared in 1940s and 1970s. In early 1940s, some colonial Korean playwrights tended to express 'Koreanness' in their works. At that time, Japanese empire encouraged for its colonial countries, including colonial Korea, to express and represent their national traditions, histories, cultures, the pasts in literal works, because it wanted to display the empire's cultural richness nd diversity through inside and outside. Japaness empire advocated Pan-Asianism which every Asian should to unite against to the West. So, it insisted on the value of the East(Asianness). In this situations, colonial Korean playwrights represented ancient Korean historical narratives(Maitaeja, Nakwbaam), classical narratives(Shimchongjeon, Chunhyangjeon), historical persons(Shinsaimdang, Kim Satgat) in their works. On the other hand, some Korean playwrights and directors pursued 'the oriental theatre' in 1970s. Some Korean directors and playwrights, such as Yoo Deokhyung, An minsoo, led to the trends for the oriental theatre in Korea in 1970s. They studied 'the oriental theatre' at the universities in the United States in late 1960s and early 1970s, were influenced from some western directors, who were interested in the oriental theatre and looked for the possibility of new theatre through the oriental theatre in 1960s, as like Jerzy Grotowski, Eugenio Barba, Peter Brook and so on. Especially, the works of Drama Center's directors and playwrights, as like Chobun, Hamyultaeja, appeared the affuences of these western dirctors's oriented oriental theatre. For example, these works represented the virtual Eastern world(westernized East, orientalized East) instead of real Eastern life.