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Volker Ludwig's German musical Linie 1 has scored an unprecedented success by being adapted and performed throughout the world. In Korea, Kim Min-Gi, the director of Hakchon Ensemble, successfully adapted and performed it under the title of Line 1; and it was born again as a uniquely Korean work which surpassed the original, not as an adaptation.
The success of Line 1 results from its own coloring which very well fits the Korean situation as well as its maintaining the merits of the German original. Both have the dynamic construction in common that appeals to the youth; and West Berlin and Seoul, as each work's background places, have similar experiences of the political, social and geographical situation. In addition, the Korean work reorganized the respective settings to be fitted to the Korean context; and instead of the German satirical characteristic it distinguished somewhat different value by sensitive presentation using serious and dark tone that well becomes the bottom life in Seoul. This strengthened its appeal.
Then what is the reason of its unprecedented success not only in both countries but throughout the world?
First of all, because it is the world drama that can arouse every generation's sympathy as well as the local one which treats West Berlin before the unification. The change in the paradigm of public thought around 68-generation also played a part. However, for the very reason of its success, the work's own aesthetic characteristic is outstanding. It is well shown by the concept of a Russian literary man Mikhail Bakhtin: 'human sympathy with the cannibal'.
Firstly, through the medium of drama, that is called the highest reach of momentary art, it reflects well the historical current with which the world can sympathize. Secondly, the spectators can experience the cannibalistic popularity that makes them one through this work. Thirdly, one can experience 'cannibalistic low-class peoplization(karnevalistische Erniedrigung)' through the humorous laughter that shows true human features. Fourthly, it is this work's aesthetic that shows 'dramatic polyphony(dramatische Polyphonie)' through various characters and situational settings. This dramatic variety is reborn as harmonization by the diverse characters who appear last to build up a community. Fifthly, this work professes itself to be for the 'communitarianism (Kommunitarismus)' through the message containing the criticism on capitalism and the responsibility for nature and posterity. Sixthly, apart from religion and ideology, it delivers the message of human love.
Thus, by forming the enthusiastic sympathy of everyone throughout the world, Linie 1 has completed one chapter of the history of dramatic performance and is reborn as a true 'common property of mankind'.
The success of Line 1 results from its own coloring which very well fits the Korean situation as well as its maintaining the merits of the German original. Both have the dynamic construction in common that appeals to the youth; and West Berlin and Seoul, as each work's background places, have similar experiences of the political, social and geographical situation. In addition, the Korean work reorganized the respective settings to be fitted to the Korean context; and instead of the German satirical characteristic it distinguished somewhat different value by sensitive presentation using serious and dark tone that well becomes the bottom life in Seoul. This strengthened its appeal.
Then what is the reason of its unprecedented success not only in both countries but throughout the world?
First of all, because it is the world drama that can arouse every generation's sympathy as well as the local one which treats West Berlin before the unification. The change in the paradigm of public thought around 68-generation also played a part. However, for the very reason of its success, the work's own aesthetic characteristic is outstanding. It is well shown by the concept of a Russian literary man Mikhail Bakhtin: 'human sympathy with the cannibal'.
Firstly, through the medium of drama, that is called the highest reach of momentary art, it reflects well the historical current with which the world can sympathize. Secondly, the spectators can experience the cannibalistic popularity that makes them one through this work. Thirdly, one can experience 'cannibalistic low-class peoplization(karnevalistische Erniedrigung)' through the humorous laughter that shows true human features. Fourthly, it is this work's aesthetic that shows 'dramatic polyphony(dramatische Polyphonie)' through various characters and situational settings. This dramatic variety is reborn as harmonization by the diverse characters who appear last to build up a community. Fifthly, this work professes itself to be for the 'communitarianism (Kommunitarismus)' through the message containing the criticism on capitalism and the responsibility for nature and posterity. Sixthly, apart from religion and ideology, it delivers the message of human love.
Thus, by forming the enthusiastic sympathy of everyone throughout the world, Linie 1 has completed one chapter of the history of dramatic performance and is reborn as a true 'common property of mankind'.
목차
Ⅰ. 베를린에서 서울로 : 폴커 루드비히 원작 『1호선Linie 1』의 한국화(韓國化)와 연출가 김민기
Ⅱ. 의식해방적 문화교류와 카니발화
Ⅲ. 세계극, 세계문학
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