항일 조선인 병사의 연극

Abstract

Anti-Japanese korean soldiers who were engaged in Korean Independence Army, Korean Volunteer Corps etc. in Yanan and Chongqing during Japanese colonial era, expressed their own reality through the medium of various performance genres such as songs, dances as well as plays and propagated their targets and intentions, especially they drew wide sympathy and solidarity from chinese audience. This is very important not only in the process of recovering national sovereignty but in the sense that they were important historical cases which determined justice and value independently and initiated the method to express this and realized conformity between daily lives and cultural expressions. In the basis of travel essays, memoirs etc. of writers and anti-Japanese soldiers who recorded experiences generated in the process of anti-Japanese struggles, the performing environment of anti-Japanese base and the situation and mentality of the soldiers who participated in the performances have been investigated in this study, and it has been reviewed in this study that dramatical history of Korean Chinese people in Yanbian takes their works as center of cultural identity actively, while south and north Korea treat them carelessly. In addition, centered on Kim Junyeop's play <the way to bright future>, which has never drawn attention before and been performed by training class of Korean Independence Army, the method for Korean soldier who was conscripted as a student soldier and escaped, to dramatize anti-Japan was reviewed. First of all, <the way to bright future> was a desperate planning for Korean soldiers who could not feel their existences in bad army circumstances, to identify their existences, which was based on the fact of their own to maximize the reality, through which not only the propaganda for people against enemies was made but the criticism against and persuasion for Chinese nationalist party leadership were promoted. This approach based on real fact was a very effective imagery method in maximizing self expression and propaganda. In addition, they, who were escaped from student army, were comprehending violence and forcibleness which Korean conscription system had in 1940s' end of Japanese imperialist era and were making use of aesthetical tactics in the way to protest against this. Against general mobilization policy such as discourse theory ‘militarist mother’ of inside colony Chosun which provided women with hypothetical citizenship by sending their sons willingly to battlefield, they identified national sovereignty with death of ‘the mother’ and explained justification of their determination and practice by this that they devoted themselves to independence movement. This is a fact showing that anti-Japanese base's plays were developed protesting against Japanese imperialists' cultural policy with extending the object of dramatical history which has been limited to domestic dramatical activities so far, and this means that Korean dramatical history is the one requiring reconsideration. The fact that Korean dramatical history is not simple one during this period when nothing but the cooperation with Japanese imperialist was shown as the target of unilateral censorship and control cultural, while artistic tension could not be identified, can be confirmed through this viewpoint.