연극의 ‘재정치화’ – 동시대 독일과 한국의 정치적 연극 연구(II) - ‘세월호’ 이후 한국의 정치적 연극

Abstract

This thesis studied the current situation and characteristics of contemporary political theater in Korea. The repoliticization of theater is a theatrical response to a radically changed reality. In particular, the reality of Korea after the ‘Sewol’ ferry disaster summoned a Korean theater. Conventional theaters that insist on emotional empathy or encouraging solidarity to the audience can no longer reflect the contemporary. The political theater is not simply a participation in reality, but is embodied by a formal overthrow through a break with existing theatrical customs. From the beginning of the 21st century, Korean theater has been changed so much that it is called ‘theatrical renaissance.’ It avoids the fictional representational theater, and changes to a form of ‘presentation’ on the stage based on reality and facts. Contemporary political theaters in Korea are produced based on public and private records that can prove facts rather than existing fictional texts. In addition, by weaving fictional texts on these records, various perspectives that exist in complex reality are presented. This documentary character and polyphony are made possible by the democratic theatrical production method of ‘devising’. The devising follows the opinions of all members of the entire process from finding the theme of a play to researching data on it, and organizing and setting the stage. In this process, all members of the theater become ‘co-producers’. He is an agent who embodies himself, not representing anything. Likewise, the audience is no longer a passive being that deciphers the intentions of the writer or director, but becomes a political subject who decides on his own actions in the discord with the characters shown by the actor. The contemporary political theater in Korea is summoned by a complex and uncomfortable reality, and attempts to correct the ineffective reality politics and divide the share of emotions rightly.