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논문 상세정보

연극개량의 전개와 극장적 공공성의 변동

The Transformation of the Theatrical Publicity -with the Development of the Theatrical Reformation in the late of 1900’s-

현대문학의 연구 no.42 , 2010년, pp.205 - 240   http://dx.doi.org/10.35419/kmlit.2010..42.006

This thesis is to analysis that the theater of the late 1900’s was being changed over from ‘an corrupting place’ to ‘a social institution of the civilization’ and ‘a place where the modern/colonial regulative power works’ through the various ‘(argumnent of) theatre reform’ of the public theaters like Kwangmudae(“The Light Theater”), Tansungsa(“The Round Theater”), Wonkaksa(“The Prodissiconch Theater”) and the various newspapers.Chapter Ⅱ is about that Kwangmudae’s theater reform and the benefit performance contributed to the changeover of the way of seeing the theater by emphasizing the national publicity of the theater. Especially the benefit performance added the social significance to the theatrical publicity. The theatrical publicity which searched the raison d’etre in the national publicity had began to get out of it.Chapter Ⅲ is about that Lee In-Jik’s ‘Shinyonkeuk’(“New Theater”) for the theater reform had promoted the theater to the social institution of the civilization by making the contemporary social concerns. Especially in the project of opening Wonkaksa, the foregrounding of the figure ‘Lee In-Jik’was effective because he was one of the representatives of ‘the social’, for example the newspapers and the novel.Chapter Ⅳ is about that the regulations of the theater under the Tongambu(“Regime of the Japanese Residency-General”) was making the new theatrical publicity in the other dimension. It was regulating the hygiene of the interior and the exterior of the theater, theater management, and the performers Kisang(“the Dancing Woman”) and Changbu(“the Singing Men”) especially by the ‘(sanitary) police’. The operation of the regulative power in the theater is not only the modern phenomenon essentially, but also the colonial especially in this case.In addition, this thesis tries to explain and signify the relation of the theatrical events and ‘Shinyonkeuk’ ―not to just evaluate outcome of ‘Shinyonkeuk’― in the repect of the changeover of the theatrical publicity. It also argues that Lee In-Jik’s ‘Shinyonkeuk’ contributed the theatrical publicity focusing on the ‘nation’ moved to focus on the ‘sociey’.

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