박영호의 연극, 대중극의 젠더

Abstract

Theatres in colonial period were not never the sphere of gender neutrality, there were most significantly affected by male audience’s taste. Nevertheless the popular drama in theatre began to genderize for the female since one period. This study started on such a critical mind. This can be understood through the exploration to 1930s’ popular drama and the capture to genderization of it. In that sense, Park Young-ho is a valuable reference point. In those days of his budding writer, certainly ‘the erotic service’ and ‘the excessive brightness’ were noticeable. The atmosphere of theatre spread the whoopee psychology, and this state colligated with the process that the political vitality of Joseon society got a blow by Colonial Power in 1920s. And yet his political awareness remained, but he found the critical point of stage expression through several regulations. Passing through this process, he achieved as a popular playwriter. Meanwhile his playwriting world showed a delicate change ― from foreign land to Colonial-Joseon, and from the past to the present in his textual space time. However the sail back to ‘the present of Colonial-Joseon’ wasn’t in the push to Park Young-ho. After a while he confirmed the position of as a Sin-geuk[ 新劇 ], and that meant genderize for popular play. His alibi as a Sin-geuk man becomes ‘the in- tention’ revealing to a certain vision or sociality, he makes himself the judgment subject to the narrative of women’s sufferings. Now remaining problems are the direction of group subject genderizing popular play and the identity of the greatest common divisor on their interests. It is guaranteed to be master narrative petaining to colonial experience.