극예술연구회 제15회 공연작 <풍년기>의 공연 과정과 장면화에 관한 연구

Abstract

<Pungnyeongi> is a play adapted from <So(Bull in the countryside)> performed by Geugyesuryeonguhoe. <So(Bull in the countryside)> which was the 8th regular performance in July 1935 was canceled due to Japanese censorship. In particular after <So(Bull in the countryside)> failed to pass censorship, Geugyesuryeonguhoe had to repeatedly go through several scheduled works failing censorship and canceling performances. In the process, the performance of ‘rural-play’ which has been recognized as the basis for creative plays by Geugyesuryeonguhoe after <Tomag(ghetto)>, is driven into crisis. Yoo Chi-Jin later released <Jesa> and <Jamae(sisters), and through these works made <So(Bull in the countryside)> tried to circumvent the 'rural-play' worldview. However in February 1937 Geugyesuryeonguhoe adapted <So(Bull in the countryside)> into <Pungnyeongi> and selected it as a regular performance. In this process, adjustments and corrections were made to the play to suit the taste of the Japanese censorship, and due to this background <Pungnyeongi> was branded as a work of blemish. Considering the circumstances at the time, it is presumed that Seo Hang-seok worked on the adaptation on behalf of Yoo Chi-Jin, and in the process a change in gaze distorted the reality of Choseon(Old Korea)'s rural areas appeared. Because of this, Korean theater researchers are suspected of ignoring the consideration of <Pungnyeongi>. In this research paper, while acknowledging these objective facts to some extent, the analysis of <Pungnyeongi> was conducted in accordance with the need to reconstruct the process and contents of <Pungnyeongi> performed by Geugyesuryeonguhoe.