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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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After the Sino-Japanese War, the beginning of the new dramas of Manchukuo was Datung drama company - a government sources troupe. After the Sino-Japanese War ended, the Japanese Imperialism needed to strengthen the position of Manchukuo, recover shaky public sentiment, and enhance the power of the means of propaganda in shifting toward the all-out war phase. In that sense, new dramas were advantageous in several aspects compared to the old dramas such as the Beijing operas and Laozi. For instance, new dramas regulated new drama activities in the perspective of appointing talented people related to the introduction of the Japanese new drama system and the perspective of the reflection of actual life and ordinary language on one hand and approached closer to audience on the other. Thus, they were able to obtain the powerful propaganda effect which the authorities anticipated.
However, the sophisticated language environment of Manchukuo brought about ripple effects toward the effects which Manchukuo anticipated by arousing confusion in the expression of new drama language. Even though the official languages of Manchukuo were Japanese, Chinese, and Mongolian, various national languages and local dialects coexisted. This sophisticated language environmentcaused the phenomenon of mixing the conscious language and the unconsciouslanguage of writers, translators, and actors and actresses. In the new drama scriptsof Manchukuo, Beijing dialect - the standard Chinese at that time - and the dialectterms of Manchuria and Japanese vocabulary were mixed. Moreover, the scriptswere spoken in Dongbei dialect and Beijing dialect by actors and actresses. Sincethe actors and actresses of that time had mostly come from Manchuria, Dongbeidialect were their native language. On the other hand, Beijing dialect had to belearned through school education or the media such as television and radio. Eventhough the two dialects are the languages of the northern part of China, thereare significant differences in the use of vocabulary and pronunciation. In that sense,mastering the Beijing dialect in Manchuria was truly difficult. Therefore, the dualpronunciation of skilled Dongbei dialect and poor Beijing dialect by actors andactresses displayed significantly awkward atmosphere.
It is true that mixing the languages and dialects of multiple ethnicities and regions is the special new drama language expression sense of Manchukuo. However, indiscreetly mixing multiple dialects regardless of drama contents or main characters had a negative effect on the interest of audience and performance effect. As a result, the authorities’ purpose of national project propaganda through new dramas was not effectively obtained and the ineffective accomplishment contributed in the failure of the new drama popularization movement which was held on a nationwide scale.
However, the sophisticated language environment of Manchukuo brought about ripple effects toward the effects which Manchukuo anticipated by arousing confusion in the expression of new drama language. Even though the official languages of Manchukuo were Japanese, Chinese, and Mongolian, various national languages and local dialects coexisted. This sophisticated language environmentcaused the phenomenon of mixing the conscious language and the unconsciouslanguage of writers, translators, and actors and actresses. In the new drama scriptsof Manchukuo, Beijing dialect - the standard Chinese at that time - and the dialectterms of Manchuria and Japanese vocabulary were mixed. Moreover, the scriptswere spoken in Dongbei dialect and Beijing dialect by actors and actresses. Sincethe actors and actresses of that time had mostly come from Manchuria, Dongbeidialect were their native language. On the other hand, Beijing dialect had to belearned through school education or the media such as television and radio. Eventhough the two dialects are the languages of the northern part of China, thereare significant differences in the use of vocabulary and pronunciation. In that sense,mastering the Beijing dialect in Manchuria was truly difficult. Therefore, the dualpronunciation of skilled Dongbei dialect and poor Beijing dialect by actors andactresses displayed significantly awkward atmosphere.
It is true that mixing the languages and dialects of multiple ethnicities and regions is the special new drama language expression sense of Manchukuo. However, indiscreetly mixing multiple dialects regardless of drama contents or main characters had a negative effect on the interest of audience and performance effect. As a result, the authorities’ purpose of national project propaganda through new dramas was not effectively obtained and the ineffective accomplishment contributed in the failure of the new drama popularization movement which was held on a nationwide scale.
목차
1. 들어가는 말
2. ‘만주국’ 신극 언어의 형성 배경
3. 〈건국사편단〉과 〈왕속관〉 - 혼재된 언어 표현의 감각들
4．나오는 말
【參考文獻】
【中文摘要】
【Abstract】
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UCI(KEPA) : I410-ECN-0101-2017-820-002415442