식민지의 풍경, 신화적 공간의 해체와 현실적 생존법의 모색 - 『조선중앙일보』판 유치진 <버드나무 선 동리의 풍경>을 중심으로 -

Abstract

The Landscape of the Willow Village, Part 2, of 'Rural Trilogy', Yoo Chijin's play was published in the Chosun Choong-Ang Ilbo from November 1, 1933 to November 15, 1993 and performed from November 28, 1933 to November 30, 1933. After then, it was neither performed nor included in any collection again, and was merely included in 'Yoo Chijin’s Collected Works' published by Sungmoongak in 1971. Therefore, most of the previous studies on the work have been performed based on the Sungmoongak version, rather than the Chosun Choong-Ang Ilbo version that is difficult to obtain. But the original of the Chosun Choong-Ang Ilbo version differs from the adaption of the Sungmoongak version in quantity (the difference is more than double), event organization, and characterization (in terms of main characters) - a considerable difference in event organization and characterization. For this reason, it is necessary to look separately at the original created before the adaption was created. Hence this study went over the facts and meaning of the original, focusing on the original created by the Chosun Choong-Ang Ilbo. The work stands out as having pictorial composition, as the word 'landscape' in the title suggests, but produces a weak dramatic effect, in short, development and resolution of conflicts. But as for such composition, conversation topics are linked like a chain and dramatic coherence is redeemed. In addition, the home-leaving of Gyesun and the disappearance of Deokjo (this event subordinate to the event 'the home leaving of Gyesun') are an axis and the opposite lifestyles of Haksam and Seongchil conflict, which provides a centripetal force to the weak conflicts in the middle of the play. These two characters show two possibilities for surviving in the brutal colonial reality. The possibilities epitomize the changed society and Yoo Chijin`s cogitation around when the complete works were compiled from all the parts excluded from the adaption. as for the work, Hwang Tosu (Hwang Suljo) was in charge of the mise en scene of the performances; and when published serially, sketches of the stage and relevant illustrations were contained. Hwang To-su was a member of Mokilhoe (an art organization established in the Japanese colonial era), which closely banded together and interacted with Guinhoe (9 members of literary meeting persuited modemism) in terms of culture. Based on these facts, it is possible to confer the status of the work, that is a clue to an understanding of the broad solidarity and interaction in the cultural circle in the entire 1930s; and it can also be confirmed that Yoo Chijin was one of the members of Guinhoe, apart from his activeness.