배우 신불출, 웃음의 정치

Abstract

Shin Bul-chul is very distinctive existence. It is because that he was widely known in the world and his personal information wasn't nearly known, he posed himself as a hŭnghang actor and his public walk ridiculed the dichotomy of new theatre/hŭnghang theatre. Especially, the devise of mandam was unusual. It was a related problem with the links of culture composition, as a cultural affair. The reason why he sought a third way was the politic pressure of colonial-power and the difficulty of theatre arts caused by hŭnghang market's logic. If he changes the structure of colonial cultural system or the logic of hŭnghang market, he had to change his being form. Just in time, he encountered a gramophone record so that he has an unexpected conversion. Mandam was found a expedient getting out of such a trouble, a performing arts fulfilling self-conscious as a actor. Furthermore, there were ideological bases that he tries to keep and develop Joseon language, to move people to change the world. Of course, its medium was 'laugh'. The reason why he achieved success as a mandam teller was the chemical result between such a practical process and the structure of feeling. Above all, he anticipated mandam as a 'laughing' oratory. Nevertheless, it was obvious that he himself didn't felt content. He wasn't free from the crisis of language caused by censorship and regulation. He couldn't help tuning the width of movement in the Japanese Government General of Korea's control. If the highest mandam teller's 'laugh' was so, its critical point means colonial-power. But when we look his politial walk or mandam after Liberation, we feel such a understanding insufficient. Perhaps, this problem may have to do with the transfer from colonial-power to military government-power, in process he posed himself as a political subject actively.