프로연극운동의 또 다른 지층 민병휘와 개성 대중극장

Abstract

Until recently the proletarian theater movement during the Japanese occupation period has been interpreted as centered on the KAPF(Korea Artista Proletara Federatio). However this paper will argue that due to the Min, Byeong-hui and the Gae-seong popular theater circumstances the predominant view, that in the 1930’s proletarian theater companies in each region had been gradually organized centered on KAPF, must be reevaluated. Fist of all, it had been made to grasped socialist line of Min, Byeong-hui. For the sake of light on the truth, the Geun-gi scandal had to review which he expelled the member of KAPF. By the tracing the scandal, it figured out that he and the others were Bolshevik group that they tried to the Korean communist party reconstruction movement. Those are very important way for reveal that difference of KAPF and his perspective. Their different thinking were legal play in theater and illegal play by traveling theater. Those were from difference of socialist line. The Gae-seong popular theater changed its direction after he left the theater. It conformed of policy KAPF’s theater movement by choosing the Hatcha for illegal play. This Change of the theater show relatively the special layer as distinct from KAPF’s position. The Gae-seong popular theater changed was traveling theater itself that was core issue of his paly theory and theater popularization theory. It was more radical than Moving Small Theater and Megaphone which were traveling companies regardless of KAPF, because he adopted the way of making communist cell to making the theater. But this play would never be performed because it failed to Japanese censorship. Therethrough, he suggested the play in theater as camouflaged traveling theater. It was another name is his traveling theater. While KAPF’s theater movement, which pursued legal theater performance ended up failing, Min, Byeong-hui’s vision of traveling theater was later evaluated as a viable alternative method of defining the way of the proletarian theater movement. The case of Min, Byeong-hui and the Gae-seong popular theater clearly shows that 1930’s proletarian theater movement was not completely centered on KAPF. Through this analysis we can confirm that KAPF is not the sole progenitor of the proletarian theater movement, but that there were other representatives.