1950년대 여성국극에 나타난 대중 역사극의 변화-<서동과 공주>, <눈 우에 피는 꽃>, <백호와 여장부>의성 역할을 중심으로-

Abstract

In 1950s, female Guggeuk meant popular drama especially focused on historical contents. But it was newly-composed historical drama. At that time Akggeuk was also popular. We can find the similar repertory related with this kind of historical drama in Akggeuk. So we can guess that they influenced each other. The point is that this kind of new historical drama was very popular from the late of 1940s to the middle of 1950s. This paper examined these popular drama in Female Guggeuk with three scripts of 1950s including the newly founded one. They show the narrative features through the relationship between the gender roles. It can explain their relationships with the circumstances of post war. <Sudong & Princess> shows double change of role, which means that a female actress takes a male role and has a voice of female at the same time. Female Guggeuk has a character of all female troops. So female actress has to take a male role, and strong masculine features should be expressed through the male role. But the male character in <Sudong & Princess> doesn't represent this feature as it exchanges the role once more. It means that dutiful virtue of fidelity is not limited to women. On the other hand, it's a good strategy that double persona tell the message. It's not certain which one is stronger to audience. Anyway it can explain the relation between 1950s which were the times of no existence of father with the Korean War. In 1950s many women had to take a burden to manage to live. So it was times enforcing her to do something for family. <The Flower in the snow> shows well the positive female ability. The problem is it requires to sacrifice herself. <Baekho & Female Warrior> shows well the positive male character. He is very nice so many female audience have a fantasy about the ideal image of man as he is very tender. It shows the perfect man whom the tough girl can rely on. In three scripts we can found the strong and virtual women which was required by times of 1950s, not by feminism.