전향 연극의 시원(始原), 극단 중앙무대

Abstract

The article reconfirms the origin of the concept of the theory of middle theater to reaffirm the identity of the Jungangmudae, and uses the case of the JoongAng Theater, the latter successor of Japanese left-wing theater, and the situation of Japanese proletarian theatrical activists before and after the dissolution of Japan Proletarian Playground Alliance (PROT). The JoongAng Theater is an important example of how the Japanese proletariat staged a progressive play movement right before the dissolution of the study about PROT, and of how it performed forward-looking plays. Through these cases, looks at the attitudes and ways of winning over proletarian theatrical activists in colonial Korea after the dissolution of the KAPF. The framework of the theory of middle theater was nothing more than a means of devaluing the Jungangmudae with a non-objective and forced concept, thus revealing that it is meaningless to explain the stage plays of the Jungangmudae with the theory of middle theater. Rather, the value of the theater becomes clearer when it is reinterpreted from the point of view that the drama is a reversal from the perspective after the dissolution of the KAPF, beyond the framework of the new modern Korean theater movement. Lee Kiyoung's Homecoming (Kohyang) and Lee Kwangrae's Country Teacher (Chon Seonsaeng) are especially important in that they show attitude of conversion after the break-up of the KAPF.