김명화 희곡 <냉면>에 나타난 음식의 정치학

Abstract

This article focuses on the way Naengmyeon written by Kim Myeonghwa is involving the readers and audience, who experienced or unexperienced Korean war and the meaning of Naengmyeon that is consistently mentioned in the work. The involvement structure that this work had designed has provided readers and audience with a chance to mull over the Korean war and division of Korea, and has showed the diverse and disparate standpoint of every generation as well. Thus in this article's second chapter the structure of the act, made to encourage readers and audiences' participation, is discussed and in third chapter I analyzed how the meaning of Naengmyeon inside this structure expands to a role of objectifying a current circumstance of division and of gathering generations which experienced the Korean war and those who didn't. The three-layered time frame(Watching time, Acting time, Setting time) that this work laid out strengthens the message about division that is intended by crossing those times. And then, after setting a frame of ‘trespassing’ that evoking the division state through 3-layered time structure, Naengmyeon fills the disasters that conflict and division of ideology has engendered in the structure, moreover, by letting actors trespass the border between stage and audience, it makes recognize that the notion of line, border and division can be applied to the right place that audience are sitting in. In other words, Naengmyeon transfers the position of readers and audience from the watchers to actors of pondering. Naengmyeon interpreted the situation after trespassing, not knowing how the political state will change, as a mirage state. Nevertheless, Naengmyeon presented the all sharing Naengmyeon on stage as a way to break ice and strike up a conversation when south and north, father and son meet someday by means of trespassing. This is eventually the power and role of Naengmyeon under the present state of Korean politics.