대한민국 제1공화국 초기(1948.8~1950.6) 정부 예술･공연 정책을 둘러싼 경쟁
The Competitions over the Governmental Policy of Arts & Performances Right after the Inauguration of the 1st Republic of Korea (August 1948~July 1950)
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This article examines the competitions among national institutions and private organizations over the official policy of arts & performance right, especially over the legislation of the ROK public performance act and the establishment of the National Theater of the ROK right after the inauguration of the 1st Republic of Korea (August 1948-July 1950). At that time, the ROK Ministry of Education legally came to be in charge of cultural and art affairs. Nevertheless the Ministry competed with the ROK Bureau of Public Information over the censorship of playscript, which delayed the legislation of the ROK public performance act in the National Assembly. This bureaucratic politics was found in the case of the National Theater. The enactment the law concerned was delayed in the National Assembly, in which the assembly men concerned objected to the draft bill submitted by the Education Ministry for the reason of national budget. Also the measures necessary for the Theater establishment were not properly taken because of the competitions between the Ministry and Metropolitan Seoul authorities over the right place for the Theater. Moreover, the figures in right-wing cultural and art circles actively involved themselves in the competitions over the establishing and the running of the Theater, which was meant to secure their personal and professional interests under the national cause of the security of the ROK. The competitions among national institutions and private organization show us the political situations which the newly inaugurated ROK faced within and without. They shared the common interest and goal of securing the national security of the ROK in the face of the political challenges such as the Yosun Uprising in October 1948. Nevertheless, they competed among themselves over the ROK public performance act and other issues for the purpose of securing their own institutional, professional, and, even, personal interests. Their competitions vividly represented the realities implementing the official cultural and performing policies, and also the problems inherent in the implementations. At the same time, the competitions suggest to me the political situations which forced the problematic implementations upon the ROK which had to mobilize the potentials artistic performances had to the contemporary national agenda of securing its own safety. This constitutes the historical significance of the institutional and professional competitions we have met thus far.
Abstract
This article examines the competitions among national institutions and private organizations over the official policy of arts & performance right, especially over the legislation of the ROK public performance act and the establishment of the National Theater of the ROK right after the inauguration of the 1st Republic of Korea (August 1948-July 1950). At that time, the ROK Ministry of Education legally came to be in charge of cultural and art affairs. Nevertheless the Ministry competed with the ROK Bureau of Public Information over the censorship of playscript, which delayed the legislation of the ROK public performance act in the National Assembly. This bureaucratic politics was found in the case of the National Theater. The enactment the law concerned was delayed in the National Assembly, in which the assembly men concerned objected to the draft bill submitted by the Education Ministry for the reason of national budget. Also the measures necessary for the Theater establishment were not properly taken because of the competitions between the Ministry and Metropolitan Seoul authorities over the right place for the Theater. Moreover, the figures in right-wing cultural and art circles actively involved themselves in the competitions over the establishing and the running of the Theater, which was meant to secure their personal and professional interests under the national cause of the security of the ROK. The competitions among national institutions and private organization show us the political situations which the newly inaugurated ROK faced within and without. They shared the common interest and goal of securing the national security of the ROK in the face of the political challenges such as the Yosun Uprising in October 1948. Nevertheless, they competed among themselves over the ROK public performance act and other issues for the purpose of securing their own institutional, professional, and, even, personal interests. Their competitions vividly represented the realities implementing the official cultural and performing policies, and also the problems inherent in the implementations. At the same time, the competitions suggest to me the political situations which forced the problematic implementations upon the ROK which had to mobilize the potentials artistic performances had to the contemporary national agenda of securing its own safety. This constitutes the historical significance of the institutional and professional competitions we have met thus far.
참고문헌 (69)
- "제헌국회속기록", ~
- "주보", ~
- "관보", ~
- "시정월보", ~
- "신경향", ~
- "대조", ~
- "예술조선", ~
- "신천지", ~
- "민족문화", ~
- "인민", ~
- "음악세계", ~
- "동아일보", ~
- "경향신문", ~
- "조선일보", ~
- "자유신문", ~
- "서울신문", ~
- "한성일보", ~
- "독립신보", ~
- "중앙신문", ~
- "남조선민보", ~
- "영남일보", ~
- "부산신문", ~
- "호남신문", ~
- "文敎史", ~
- "中等朝鮮語辭典", ~
- "文化의 創造", ~
- "憲法解義", ~
- "民族과 靑年", ~
- "新語辭典", ~
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