한국 현대 연극의 ‘현대성’ - <조씨고아> (고선웅 버전)와 <모든 군인은 불쌍하다>를 중심으로

Abstract

Although China and Korea share the same Confucian cultural traditions, there are vast differences in contemporary theatre between the two countries. The differences in style and technique, caused by ethnicity and the degree of ‘newness,’ remain merely ‘rhetorical’ in nature. The main distinction is that the ‘modernity’ of Korean contemporary theater is what Chinese contemporary theater lacks. What this essay means by ‘modernity’ is the prioritization of the rights of the individual over the whole, as opposed to the precise reversal of that relationship during the ‘Middle Ages.’ By comparing the various interpretations of the ‘medieval’ drama classic The Orphan of Zhao by Chinese contemporary theater and Mr. Ko Sunwoong(高宣雄)’s Korean National Theater version The Orphan of Zhao, A Seed of revenge, as well as the Chinese modern Lu opera Mending Heaven and Mr. Park Geunhyung(朴根亨)’s All Soldiers are Pitiful, this essay argues that contemporary Korean and Chinese theater has ‘modernity’ and ‘non-modernity’ respectively.