ScholarWorks@숙명여자대학교

초록

The purpose of this study is to view the continuity and disconnection flow of “narrative of Kim Ok-kyun” dramatization during the colonial period. To this end, this study proposed the following detailed points based on prior research results on the motif play texts of “narrative of Kim Ok-kyun”. 1) reconsideration of the beginning of the dramatization of “narrative of Kim Ok-kyun,” 2) whether Kim Jin-gu’s <The Collapse of the Great Stage> performance was completed, 3) during the colonial period, Kim Ok-kyun’s Motif historical drama performance history, 4) the conflicting assessment of Park Young-ho’s <Kim Ok-kyun’s Death>. Focusing on the above points, this study, which tracked the dramatization genealogy of “narrative of Kim Ok-kyun” during the colonial period came to the following facts and conclusions. First, The dramatization of “narrative of Kim Ok-kyun” which began in the 1920s in a series of magazines, moved the stage to theatrical performances in the 1940s. Second, unlike the 1920s text focused on the death of Kim Ok-kyun, the 1940s text focused on the Kapsin Coup and Kim Ok-kyun’s exile in Japan. Third, Kim Ok-kyun’s “Samhwa” idea, which appears in the text of the 1920s, is transformed to the grand Asianism, or imperial discourse in the text of the 1940s. Fourth, with the performance of Dongyang theater and theater company Arang in the 1940s, the dramatization of “narrative of Kim Ok-kyun” gradually transforms into a melodrama. Fifth, the competition between the Dongyang theater and the theater company Arang through the dramatization of “narrative of Kim Ok-kyun” was the decisive factor that led to the success of historical drama in the 1940s.

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