1930년대 연극대중화론과 관객

Abstract

This thesis studied the audience of modern theatre, focused on the discussion related to the proletarian play and theatre popularization of Keukyesul-younguhoe(the study society of theatre art). Theatre popularization theory, by considering the audience as an essential element and recognizing its identity, has its possibility which overcome the limit to the audience as an object of enlightenment. Proletarian theatre presented ideological limit to choose and discuss the audience easily recognized labor and peasants. Keukyesul-younguhoe concentrated on rearing the audience, mainly students, who understands and supports their modern drama. Accordingly they didn’t maintain the audience of Chosun theatre, were seized with enlightening mission, following an ideal of modern drama. The audience of Chosun including the audience of popular drama were modern populace to choose and consume contemporary culture. But theatre popularization theory didn’t consider defferentiation aspects of class and the process of cultural participation by the social, economical and cultural base of populace. Accordingly theatre popularization theory in 1930s, by simplifying the ‘populace’-the center of discuss, has the limit not ot achieve the real popularization, though it was the developing process to overcome the enlightening theatre theory in 1920s.