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중앙아시아 고려인 희곡에 나타난 삽입가요의 극적 맥락과 기능에 관한 연구 - 극작가 연성용의 창작 희곡과 자작 가요의 관련성을 중심으로 -

A study on the dramatic context and function of Central Asian Korean’s plays

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참고문헌

키워드

주제분류학제간연구

초록

Yeon Seong-Yong is a Soviet Korean novelist and playwright. At the same time, he is also a poet and composer. He initially lived in Vladivostok. He was forced to Central Asia in 1937 and moved to Kazakhstan. He wrote mostly played works and he directed a play at ‘Korea theater’ in Central Asia. He announced two major works in 1970s. One is Children(1974), and the other is Storng women(1979). Children and Storng women are his masterpiece. He has directed two plays all at Korea theater in Central Asia. I studied the structure and aesthetics of two plays. Many songs were included in the two works and the songs was to perform a variety of functions in performing arts. This study examines the role of the insert songs of Children and Storng women, and the results are summarized in the paper.

Abstract

Yeon Seong-Yong is a Soviet Korean novelist and playwright. At the same time, he is also a poet and composer. He initially lived in Vladivostok. He was forced to Central Asia in 1937 and moved to Kazakhstan. He wrote mostly played works and he directed a play at ‘Korea theater’ in Central Asia. He announced two major works in 1970s. One is Children(1974), and the other is Storng women(1979). Children and Storng women are his masterpiece. He has directed two plays all at Korea theater in Central Asia. I studied the structure and aesthetics of two plays. Many songs were included in the two works and the songs was to perform a variety of functions in performing arts. This study examines the role of the insert songs of Children and Storng women, and the results are summarized in the paper.

참고문헌 (12)

  1. 김병학, "재소 고려인의 노래를 찾아서(1~2)", pp.120~482 (2007), 화남
  2. 김보희, "중앙아시아 고려인의 창작가요", 한국음악연구, 42(4), pp.33~68 (2007), 한국국악학회
  3. 김흥규, "판소리의 이해", pp.108~116 (1996), 창작과비평사
  4. 박명진, "고려인 희곡 문학의 정체성과 역사성 - 연성용 희곡을 중심으로 -", 한국극예술연구, (19), pp.171~217 (2004), 한국극예술학회
  5. 송종관, "<임진록> 소재 삽입 시가의 존재 양상과 특성", 한민족어문학, 33, pp.429~455 (1998), 한민족어문학회
  6. 신은경, "삼국유사의 삽입시가 연구", 고전문학연구, 13, pp.33~55 (1998), 한국고전문학회
  7. 연성용, "정녕코 좋다", 레닌기치, ~ (1965)
  8. 윤의섭, "시 종결 방식의 형성과 의미 - 1910년대 『학지광』의 시를 중심으로", 한국시학연구, (27), pp.173~194 (2010), 한국시학회
  9. 이희주, "<바리공주> 무가의 삽입가요 연구", 한국민요학, 10, pp.241~277 (2002), 한국민요학회
  10. 조규익, "한국문학과 예술", 한국문학과 예술, pp.63~70 (2009), 숭실대학교 한국문예연구소
  11. 조규익, "고려인 극작가 연성용의 고전수용 양상 -「창곡이와 홍란」ㆍ「지옥의 종소리」를 중심으로-", 한국근대문학연구, (26), pp.323~356 (2012), 한국근대문학회
  12. 카자흐스탄 국립고려극장, "고려극장의 역사", pp.250~267 (2007), 라리쩨뜨

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