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커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This paper is aimed to make the topographic map of Korean theatre field after Independence of Korea in detail through the three works which had been published from the 15th of August in 1945 to the 15th of August in 1948 and dealt with the eradication of vestiges of Japanese imperialism. The matter of eradication of vestiges of Japanese imperialism was one of the hot issues which the Korean society after Independence from Japan had to solve. Dealing with this matter can show correctly the relation between the politics and plays in those days.
Songyoung's Twilight (Hwanghon), Kimsong's The Day Has Come. Hamseduck' s An Old Tree, all of these dealt with the eradication of vestiges of Japanese imperialism but each showed the much differences in the way of bringing up the matters and how to solve them. Songyoung' s Twilight published in the time when the leftists had superior power right after the Independence brought up this matter as what we should do and presented the optimistic solutions. On the other hand Hamseduck's An Old Tree didn't have optimism like Song young's. Because leftists' power was expected to be lost in the society of South Korea, Hamseduck related the matter of eradication of Japanese Vestiges with the attack on the political circle of those days whose aim was to establish single government in South Korea. Kimsong in The Day Has Come accepted the Lee sung-man's line absolutely and agreed to forgive even the people who had worked for Japan if they reflected on their past conduct.
The play circle of Korea after Independence didn't treat the matter of eradication of Japanese vestiges enough. It was because the leftists and rightists of theater were placed in very different point of view. The leftists of theater who were used to the propaganda plays of enlightenment were on the defensive, as the matter of trusteeship appeared as a hot social issue and they couldn't but focus on the matter of anti-trusteeship, which made themselves step back from the matter of eradication of Japanese vestiges. During 1946, the power of leftists decreased sharply, they couldn't secure their place. Also, the rightists of theater who had the political security didn't try to talk about the matter of Japanese eradication, since the Lee Sung-man's political line made use of the people who had worked for Japan.
The change of the Japanese eradication after Independence of Korea could show well the flow of theater field after Independence of Korea. The leftists of theater didn't cope with the political change and oppression actively, on the other hand the rightists began to emphasize the individual standpoint, being content with their present position in the political change at that time.
Songyoung's Twilight (Hwanghon), Kimsong's The Day Has Come. Hamseduck' s An Old Tree, all of these dealt with the eradication of vestiges of Japanese imperialism but each showed the much differences in the way of bringing up the matters and how to solve them. Songyoung' s Twilight published in the time when the leftists had superior power right after the Independence brought up this matter as what we should do and presented the optimistic solutions. On the other hand Hamseduck's An Old Tree didn't have optimism like Song young's. Because leftists' power was expected to be lost in the society of South Korea, Hamseduck related the matter of eradication of Japanese Vestiges with the attack on the political circle of those days whose aim was to establish single government in South Korea. Kimsong in The Day Has Come accepted the Lee sung-man's line absolutely and agreed to forgive even the people who had worked for Japan if they reflected on their past conduct.
The play circle of Korea after Independence didn't treat the matter of eradication of Japanese vestiges enough. It was because the leftists and rightists of theater were placed in very different point of view. The leftists of theater who were used to the propaganda plays of enlightenment were on the defensive, as the matter of trusteeship appeared as a hot social issue and they couldn't but focus on the matter of anti-trusteeship, which made themselves step back from the matter of eradication of Japanese vestiges. During 1946, the power of leftists decreased sharply, they couldn't secure their place. Also, the rightists of theater who had the political security didn't try to talk about the matter of Japanese eradication, since the Lee Sung-man's political line made use of the people who had worked for Japan.
The change of the Japanese eradication after Independence of Korea could show well the flow of theater field after Independence of Korea. The leftists of theater didn't cope with the political change and oppression actively, on the other hand the rightists began to emphasize the individual standpoint, being content with their present position in the political change at that time.
목차
1. 서론
2. 친일 잔재 청산의 제기외 해법
3. 국가건설의 방향 정립과 연극계의 대응
4. 결론
참고문헌
저자소개
[Abstract]
참고문헌 (24)
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UCI(KEPA) : I410-ECN-0101-2009-810-014424443