카프의 연극대중화론과 정치연극의 대중적 형식

Abstract

This article discusses the KAPF's controversy of theatre-popularization around the audience in the 1930's. Specially, it treats the theatre-popularization discourse that suggested by Km Gijin, Sin Gosong and Min Byeonghwi who they were radical socialist art-theorists. First, their new discourse was based on Kim Gijin's comments about connection with the literature and the audience (or reader). The discourse was a part of their exploration to popularize the hard proletarian theatre which lost the lower class audience. They attended popular amateur theatricals base on local and traditional folk song like 'Arirang'. In addition, such trying was founded upon the culture of the era and the ground. These concernments about the traditional popular theatre came from trying to intimate with the lower class audience who likes a variety show which deals with conventional and vulgar taste. The result of practical action for agitprop, they proposed hybridized performance style that mixed several performances of different types such play, dance, song, comic talk, magic and so on. Moreover, they also proposed political Revue and Sprechchor. However, most of important thing used musical elements to make a form of new propaganda theatre. Therefore, the form of proletarian theatre was changed not visual theatre but listening theatre. In other words, KAPF's controversy of theatre-popularization discussed to organize the people of the lower classes under the Japanese colonial. To organize the public or the labor for the struggle of classes, the theorists insisted to use performative and popular elements in popular theatre. The important were the matter of preference and using it for stimulate the emotion of the audience. Accordingly, the purpose of the discourse about theatre-popularization eventually was that narrow the distance between audience and political propaganda theatre.