Position of Translated Drama and Translational Norms in Modern Korean Theater during the 1920s and 1930s
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Discussions on the position of translated drama of the 1920s and 1930s in Korea have been fragmentary, and references to individual drama translations have seldom been incorporated into socio-cultural accounts in a coherent way. Given that the position of translated literature is related to translational norms, which govern the choices which translators make, determine the receptor text and hence the relation between the translation and its source, it is very important to draw a whole picture of translated literature before starting translation criticism. This paper aims to explore the position of translated drama in modern Korean theater during the 1920s and 1930s and its implications for translational norms. During this period, the modern Korean theater movement arose as part of cultural nationalism. Being under Japanese colonial rule, the purpose of the movement was to subvert the colonizer’s sinpa theater and establish a modern national theater, and as part of this movement, foreign drama was translated and imported. The leaders of the theater movement set up the translated drama with a threefold purpose: they sought to establish a model to create original Korean drama, to awaken national consciousness and to reform the Korean vernacular through translated drama. This paper argues that these roles of translated drama led to controversies over translational norms of “adequacy” versus “acceptability”.
Abstract
Discussions on the position of translated drama of the 1920s and 1930s in Korea have been fragmentary, and references to individual drama translations have seldom been incorporated into socio-cultural accounts in a coherent way. Given that the position of translated literature is related to translational norms, which govern the choices which translators make, determine the receptor text and hence the relation between the translation and its source, it is very important to draw a whole picture of translated literature before starting translation criticism. This paper aims to explore the position of translated drama in modern Korean theater during the 1920s and 1930s and its implications for translational norms. During this period, the modern Korean theater movement arose as part of cultural nationalism. Being under Japanese colonial rule, the purpose of the movement was to subvert the colonizer’s sinpa theater and establish a modern national theater, and as part of this movement, foreign drama was translated and imported. The leaders of the theater movement set up the translated drama with a threefold purpose: they sought to establish a model to create original Korean drama, to awaken national consciousness and to reform the Korean vernacular through translated drama. This paper argues that these roles of translated drama led to controversies over translational norms of “adequacy” versus “acceptability”.
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