ScholarWorks@숙명여자대학교

초록

The purpose of this paper is to summarize the flow of historical drama performances during the liberation period on the premise of an intermittent phase with the colonial period and then examine its characteristics. It is a kind of a kind of theatrical history description. To this end, this paper used articles, performance advertisements, theater reviews, and transmitted scripts from newspapers and magazines during the liberation period as empirical data. Based on these primary data, this paper set four detailed issues. These are ‘re-performance and borrowing of the same motif’, ‘contextual transformation’, ‘a biography of loyalists and patriotic martyr's story’, and ‘the antagonism of popularity and ideology’. The former two issues are based on the fact that the performance text of the liberation period is a reenactment of the text of the previous period and shows some variations. The latter two issues focused on the new aspect of the liberation period. Focusing on this, this paper was able to confirm that the evaluation of Ahn Young-il of the time, who judged the historical drama of the liberation period by the vulgar harmony of historical facts and sentimental nostalgia for it, was valid. Although some new works were added and historical interpretations projecting nationalist ideology were added, historical dramas during the liberation period consistently viewed their original aspects as commercial popular culture contents. When it comes to box office hits alone, it can be said that such a character has surfaced more than during the colonial period. As such, regardless of the change in the political situation of liberation, modern historical dramas did not hide their public-friendly true colors. As a result, historical dramas during the liberation period were the main culprits who led the entire theater world to decline in conjunction with the reality of the absence of creative plays, and they were also the number one contributor who constantly brought the public to the stage. The final conclusion of this paper is that this ambivalence has the merits and demerits of historical dramas during the liberation period.

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