희곡 <조국은 부른다>(1952)의 개작 양상을 통해 본 유치진의 1950년대

Abstract

The purpose of this study is to examine playwriter Yu Chi-jin's 1950s through totally three versions while inquiring into the process of adapting the play titled <The Fatherland Calls> that was released in the rear during the war. In the process of being developed the ideological warfare(思想戰) based on anti-communism after the outbreak of war followed by armistice completion, Yu Chi-jin continued to newly write the conclusion of <The Fatherland Calls> down. The first edition titled <The Fatherland Calls> was a work, which was resonated by the national control logic in the Bureau of Public Information during the war and by anti-communism and enlightenment in Yu Chi-jin who had arranged a foothold of new activity in Busan after the evacuation. A will to arouse audience-reader with emphasizing a relationship between the front line(戰線) and the rear(銃後) here is being magnified through the ending of being rampant in the extreme settings dubbed suicide and murder. On the other hand, in case of the primary adapted version that was announced right after armistice, the process of advancing to integration for reconstruction after returning to the capital Seoul leads to what a bad man suddenly repents and to what the play is finished with national unity. Also, entering the secondary adapted version, which was released right before the collapse of the Syngman Rhee government that had coexisted with Yu Chi-jin, leads to being deleted both the excessively excited condition in the first edition and the suddenly happy ending in the primary adapted version, and to being finished by which a soldier goes up the line with staying calm. Three editions in the above are reflecting, respectively, a critical mind of the rear during the war, a mission of restoration after the war, and a historical sense of duty called the national reintegration. By the way, a soldier still cries for national integration alone in the excessively excited state among the characters even if a conclusion in each text came to be different. As far as a writer still demands the awakening of people and audience in the enlightened position, the doctrinairism, which forms the base of a play, did not change even if ending is written again. In this way, the process of adapting <The Fatherland Calls> needs to be noted in a regard of showing one aspect of the 1950s that Yu Chi-jin, who had aimed to stand alone in the center of the cold-war terrain as a flag bearer of anti-communist and as a theatre practitioner of leading the contemporary cultural policy, had proceeded with living.