카프의 조직화 과정과 프롤레타리아 연극･영화운동: 카프 시기 김송의 활동을 중심으로

Abstract

The primary goal of this article is to reconstruct the Japanese colonial era theater film activities of Kim Song (Kim Hyung-yong), which have been unknown or misunderstood so far. Therefore, in this article, by reviewing Kim Song’s activities during the KAPF period in a way that cross-verifies his autobiographical records and newspaper articles, the specific points of the Japanese colonial era proletarian theater film movement that the artist himself tried to conceal was revealed, and through it, tried to explan the organizing process of KAPF. Kim Song was a film and theater artist who was active from the late 1920s to 1935 from the Musanja Theater, Northeast Film Production, Moving Film Production, Emerging Artists Federacy, Dongbuk(northeast) Theater(in Hamheung), Moving Small Theater, Troupe Megaphone, Stage of Bukbang (northern region) in Hamheung. In particular, he was a proletarian theater artist who worked closely with the KAPF leadership from 1929 to just before the dissolution of the KAPF in 1935. Kim Song’s activities were closely related to the process of organizing KAPF after the second change of direction, especially the hegemony struggle of the KAPF leadership for the politicization of the art movement. The dissolution of the Emerging Film Artists Alliance and the seizure of Moving Small Theaters and conversion to Theater Megaphone were a process for the KAPF leadership to dominate the professional art world. Kim Song played a very important role in KAPF’s organizing process. Moreover, his play “the Hell”, which was performed very rarely among KAPF’s creative plays in the 1930s, had a unique history that the performance was suspended by the Japanese authorities at each performance. The gap between censorship of Japanese colonial era screenplays and censorship of performances can be confirmed through this work. Kim Song’s activities during the KAPF period are very important in that it reveals the organizing process of KAPF and implies the boundaries of censorship and even the activities behind the KAPF. Furthermore, it should be noted that the local proletarian theater company called Hamheung reveals a point of connection with the KAPF leadership.