동경 조선 유학생의 <소> 공연 현황과 무대에 관한 연구 - 1935년 <소> 공연을 중심으로

Abstract

In 1935, Geugyesuryeonguhoe did not perform Bull in the countryside in Korea. Due to the Japanese censorship, the performance of Bull in the countryside was banned, which meant that Geugyesuryeonguhoe had to be more aggressive in changing the direction of the performance in the second period. Later on Bull in the countryside was transformed into Pungnyeongi, but at that time the effectiveness of Bull in the countryside was lost. However, the performances of Bull in the Countryside took place at a similar time in contemporary Tokyo. Donggyeonghaksaengyesuljwa organized by Korean students in Tokyo performed Yu Chijin's Bull in the countryside. This proved the transformation of the rural theater in the 1930s. Although Bull in the countryside was born under the powerful influence of Japanese works, it should be appreciated that the play Bull in the countryside was a work that uncovered the reality of the countryside and designed a new approach to the rural issue. And the fact that there are still performances that can confirm this fact should be recorded as a notable issue of the theatrical history. This study restructured the stage of Bull in the countryside performance of Donggyeonghaksaengyesuljwa, considered its performance/acting style through stage design, and furthermore, the significance of Bull in the countryside.