류해정의 촌극론·대동놀이론과 그 작품적 실천

Abstract

This paper is to arrange Madang Theatre theory of Ryu, Hae-jung, a playwright and director who played an important role in Korean progressive performing art movement, in particular Madang Theatre during the early and mid 80s and also put in order relation between his theory and practice and his influences, etc.. Madang Theatre is the only locally originated art form in Korean modern theatre and from its inception, its theorization took off simultaneously. Among its players, Ryu, Hae-jung was the most enthusiastic in theorizing the form, so based on creative experiences, he came up with his own theories. He systemized theories and based on that, he put plays on stage and re-examined theories. His arguments can be divided into two categories: ‘Skit theory’ is an argument that improvisational role plays could create a Madang Theatre piece and ‘Dae-dong play theory’ is a theory that a Madang Theatre play should be put into as a part of a Dae-dong play. His theories were verified in practice in the early- and mid-80s in his own productions and theatre education programs for workers. They also formed a theoretical base for successful practices which brought fundamental changes into the university festival organized by Korea University students in 1983.