ScholarWorks@숙명여자대학교

초록

In the 1950s and 1960s when there were not so many magazines specializing in theater, general magazines took on the role of a place for critical academics for theater critiques and theater studies. The most representative magazines were the general magazines Sasange, Sedae, and Sindonga, and the literary magazines Munhakyesul, Hyundaemunhak, and Jayumunhak. The writers of the magazines at the time included English scholars, translators, producers and playwrights, and they examined what theater was in social culture and why it was important to highlight the facts that theater is not irrelevant with social and political discourses, that theater plays a fundamental and unique role as a cultural basis, and that theater is important in recognizing the trends of culture and arts as required by the new day in age. In order to emphasize the meaning and importance of theater within our intellectual culture, at times they delivered theatrical issues and the social roles of theater in the western society. In particular, they introduced new theater trends in the west of the same period and they actively introduced aesthetic issues for debate and avant-garde trends represented by 'anti-theatre' and 'Angry young man', etc. The 1950s and 1960s was a period filled with passion to break away from the colonial modernity and construct a new society in pace with the global trends and times. Their theater movements were related with issues such as ‘cosmopolitanism’, ‘modernity’, ‘identity of Korean theater from the perspective of the west’, etc. Amidst such sociocultural mood, foreign literature theorists and translators who had the ability to translate naturally became the head of intellectuals and leaders of culture at the time. From such translation-centered and western-oriented dramaturgie, Korean theater was not a subject for critique. It placed greater importance on suggesting theaters that should be present, culture that should be present, and reality that should be present, rather than diagnosing the current. The trend for theater critiques as translations, introduction of new aesthetic trends, and preoccupation of western theories became critical influence, and commentaries of pieces and the authors, as well as translation introductions being directly connected to critical activities was formulated in this period. Such critiquing activities and attitudes focusing on translations and the west continue on to the 1970s, which is the age of full-fledged critical magazines of theatre.

키워드