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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In the history of Korean drama, translations of western plays first started to be staged in the 1910s - the age of "new drama". This was an age when adaptations of Japanese plays were the main repertoire of most theater companies. The theater companies that took the initiative to stage translations of western plays were 'The Institute of Dramatic Art(Geuk-Ye-Sul-Hyeop-Hoe)' and 'To-Wol-Hoe', that were composed of students studying abroad in Japan. However the plays to be translated and put on stage were selected solely based on the performers's taste, disregarding the reality of Korea, and Korean drama. Therefore, the staging of translated western plays could not draw the audience's attention, most ending up to be a one-time event, soon giving way to popular plays.
Such failure was due to the fact that the playwrights of the 1920s were blind to the reality of Korea's performing arts, and were gripped by enlightenment ideas. A typical example can be found in the works of Hyeon Cheol. He tried to realize his idea of theater through translations and adaptations of western plays. Hyeon Cheol's <The Dog>, published in 1922, is an adaptation of Chekhov's <The Bear>. Keeping the main structure, Hyeon Cheol modified and altered the characters and the plot to fit Korea's situation and suit Koreans' taste. What the playwright tried to achieve through the adaptation of this western play, was to enlighten the public with his conservative and chauvinistic world view. This reveals that he had a bourgeois understanding of theater that was based on the belief that plays should be a means of enlightening the public.
On the other hand, Yoon, Baek-nam, who was an active participant in the 'new drama' of the 1910s, made most of this experience and wrote original plays and staged translated works that reflected the audience's level and taste. However, like Hyeon, Cheol, he did not have a clear understanding of which works should be translated and staged. Therefore it was quite meaningful that Kim, Woo-jin started to introduce western playwrights and argued the need for active translations of foreign works. The works of 'Society of Dramatic Art(Geuk-Ye-Sul-Yeon-Gu-Hoe)' in the 1930s in part helped to realize this need.
Such failure was due to the fact that the playwrights of the 1920s were blind to the reality of Korea's performing arts, and were gripped by enlightenment ideas. A typical example can be found in the works of Hyeon Cheol. He tried to realize his idea of theater through translations and adaptations of western plays. Hyeon Cheol's <The Dog>, published in 1922, is an adaptation of Chekhov's <The Bear>. Keeping the main structure, Hyeon Cheol modified and altered the characters and the plot to fit Korea's situation and suit Koreans' taste. What the playwright tried to achieve through the adaptation of this western play, was to enlighten the public with his conservative and chauvinistic world view. This reveals that he had a bourgeois understanding of theater that was based on the belief that plays should be a means of enlightening the public.
On the other hand, Yoon, Baek-nam, who was an active participant in the 'new drama' of the 1910s, made most of this experience and wrote original plays and staged translated works that reflected the audience's level and taste. However, like Hyeon, Cheol, he did not have a clear understanding of which works should be translated and staged. Therefore it was quite meaningful that Kim, Woo-jin started to introduce western playwrights and argued the need for active translations of foreign works. The works of 'Society of Dramatic Art(Geuk-Ye-Sul-Yeon-Gu-Hoe)' in the 1930s in part helped to realize this need.
목차
1. 머리말
2. 신극의 유입과 번역극 공연
3. 〈견(犬)〉을 통해 본 번역 의식
4. 계몽성과 대중성의 변증법
5. 결론
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UCI(KEPA) : I410-ECN-0101-2009-810-017225315