중국의 화극 민족화와 자오쥐인(焦菊隱)의 『찻집(茶館)』 연출에 대한 검토

Abstract

Since its origination, Chinese spoken play had always distinguished itself from other traditional plays in China, and the idea of the spoken play mainly focusing on realistic representation had been fixed firmly. While Chinese spoken play enjoyed its status as a modern dramatic art in China and retained its original characteristics for a long time, it failed to go through various changes or become popular among the general public. Therefore, the demand of spoken play nationalization to change the spoken play into something more Chinese was rather paradoxical, and at the same time, it was a crisis for the spoken play's original idea. Particularly, being insensible to the new wave of other plays in the (western) world, the Chinese spoken play in 1950s had to turn into a new form of nationalistic spoken play based on two very different materials namely, realistic spoken play and unrealistic traditional play. It was Jiao Juyin, a director in Beijing People's Art Theatre, who successfully carried out this paradoxical job. He was able to do so because of two reasons; First, he returned back to the basics of play without denying the idea of spoken play and established his own unique view of directing. Second, he deconstructed and selectively made use of the Chinese dramatic traditions rather than deifying them. He included a cliche of Chinese traditional play in one of his spoken plays called “Teahouse”. He effectively put together realistic spoken play and unrealistic elements by rendering immanent rhythms.