유치진 희곡 <토막>의 공연성 연구- 1971년 성문각판 『유치진전집』 소재본을 중심으로 -

Abstract

The play <Tomack(A Mud Hut)> is already well-known as the debut work of Yoo Chi-Jin, the greatest playwright in modern drama history. Studies on this work have been mainly focused on its first edition so far. However, he has modified the work whenever he publishes a new version. That is why the importance of the final text also needs to be dealt with newly. The version published by Sung Moon Gak in 1971 is the translation into Korean and a little change in notation. However, one conclusive thing is that there are illustrations by Choi Yeon-ho showing the stage planning in the latter version, meaning Tomack (mud hut), dramatic stage planning, was being maintained and concretized. This is different from the performance. In other words, when it comes to dealing with the performance mode in 「Tomack」 the version published by Sung Moon Gak in 1971 is the best version. Although a Tomack, the shelter of the poorest at that time, was a dugout hut based on a depression dug into the ground, it was depicted as a common rural three-bay-straw-roof house in the performance in 1933. However, Yoo Chi-Jin did not modify the stage despite criticism, and maintained to the end. When it comes to the use of the stage, Myung Seo only uses the Ondolbang (room with the Korean floor heating system) and Myung Seo's wife only uses the kitchen and earth-floored room. We can know that when they move to other places out of the limited places, their personalities change and end up with the serious conditions. In addition, although they have very oppositive personalities, they end up with the same serious conditions, meaning that space division and crossing contribute to deepening the theme. Gum Nyeo uses the entire stage playing a role in adjusting and solving the problems with parents' generation. Similarly, she distributes the power of the stage by interpreting her brother's death as religious dimension and showing hope so that the audience can completely sympathize with the tragedy of parents' generation. She contributes to the symbolization of the stage moving around the entire stage and shows the reason why she should continue to live (Myung Seo and Myung Seo's wife end up with different endings.). Especially, Myung Seo who deeply resents, Myung Seo's wife who ghastly becomes mentally deranged, evoking fear, and Gum Nyeo who tries to overcome these difficulties with her beliefs and religious belief also provide a new example of the way human beings cope with a desperate situation where an earnest desire has not been fulfilled finally, and a model of the way human beings react to a dreadful social ordeal and suppression of the age.