±¹³»µµ¼
±¹¾î/¿Ü±¹¾î/»çÀü
Çѱ¹¾î
¿Ü±¹ÀÎÀ» À§ÇÑ Çѱ¹¾î ¹è¿ì±â
2013³â 9¿ù 9ÀÏ ÀÌÈÄ ´©Àû¼öÄ¡ÀÔ´Ï´Ù.
Á¤°¡ |
10,000¿ø |
---|
9,000¿ø (10%ÇÒÀÎ)
450P (5%Àû¸³)
ÇÒÀÎÇýÅÃ | |
---|---|
Àû¸³ÇýÅà |
|
|
|
Ãß°¡ÇýÅÃ |
|
À̺¥Æ®/±âȹÀü
¿¬°üµµ¼
»óÇ°±Ç
ÀÌ»óÇ°ÀÇ ºÐ·ù
Ã¥¼Ò°³
Çѱ¹ ¿¬±ØÀÇ Á¤Ã¼¼º°ú ¹ÌÇÐÀ» °®Ã߱⠽ÃÀÛÇÑ
1970³â´ë ÀÌÈÄ Çѱ¹ÀÇ Ã¢ÀÛ±Ø
ÃÖ±Ù ¼ö½Ê ³â°£ Çѱ¹ÀÇ ¿¬±Ø¹®È´Â Å©°Ô ¹ßÀüÇßÀ¸³ª, Çѱ¹ ¿¬±ØÀº Áß±¹À̳ª ÀϺ»ÀÇ ±×°Í¿¡ ºñÇØ ¿Ü±¹¿¡ ¸¹ÀÌ ¾Ë·ÁÁöÁö ¸øÇß´Ù. ÀÌ·± ¸Æ¶ô¿¡¼ º» µµ¼´Â 1970³â´ëºÎÅÍ ÇöÀç±îÁöÀÇ Çѱ¹ ¿¬±ØÀÇ È帧À» ¼Ò°³ÇÏ°í ÀÖ´Ù. 1970³â´ë¸¦ ±âÁ¡À¸·Î ÀâÀº °ÍÀº ÀÌ ¶§¿¡ À̸£·¯ Çѱ¹ ¿¬±ØÀÌ ¿¬±ØÀû Á¤Ã¼¼º°ú ¿¬±Ø¹ÌÇÐÀ» °®Ã߱⠽ÃÀÛÇ߱⠶§¹®ÀÌ´Ù. Çѱ¹ »çȸÀÇ È帧ÀÌ ½Ê ³â ´ÜÀ§·Î ¹Ù²ñ¿¡ µû¶ó º» Ã¥ÀÇ È帧µµ 1970³â´ëºÎÅÍ 2000³â´ë ÀÌÈıîÁö 10³â ´ÜÀ§·Î ³ª´©¾î ¼¼úÇÏ¿´´Ù. ƯÈ÷, º» µµ¼´Â ¹ø¿ª±Øº¸´Ù´Â Çѱ¹ÀÎÀÌ Á÷Á¢ ¾²°í, ¸¸µç âÀÛ±Ø Áß½ÉÀ¸·Î ±¸¼ºµÇ¾î ÀÖÀ¸¸ç, ½Ã±âº° ´ëÇ¥ÀûÀÎ ¿¬Ãâ°¡¿Í ±×µéÀÌ ¿¬ÃâÇÑ ÀÛÇ°µéÀ» ¼Ò°³ÇÑ´Ù.
¼±¸ÀûÀÎ ÀǹÌÀÇ º»°ÝÀû ¿¬±Ø ¹®È´Â 19¼¼±â ¸» °³Ç× ÀÌÈĺÎÅÍ ½ÃÀ۵ȴÙ. ±× ÀÌÈÄ 1960³â´ë±îÁö ¿¬±ØÀº ´ëü·Î Èñ°î Áß½ÉÀÇ ¿¬±ØÀ̾úÀ¸¸ç ¼±¸ ±Ù´ë±ØÀÇ ¿µÇâ±Ç ÇÏ¿¡ ÀÖ¾ú´Ù. 1ÀåÀº ÀÌ¿Í °°Àº 1970³â´ë ÀÌÀüÀÇ ¿¬±ØÀ» ´Ù·é´Ù. 2ÀåÀº 1970³â´ëÀÇ ¿¬±ØÀ» ¼Ò°³ÇÑ´Ù. °æÁ¦ ¹ßÀü¿¡ µû¶ó ¹®È¿¡ ´ëÇÑ °ü½ÉÀÌ ³ô¾ÆÁ³°í, ¡°ÀüÅëÀÇ Çö´ëÈ¡±¸¦ ¸íÁ¦·Î ÀüÅë ¿¬Èñ¿¡ ´ëÇÑ °ü½ÉÀ» ȸº¹ÇÏ·Á Çß´Ù. ´ç½Ã¿¡´Â ¼±¸ ½ÇÇè±ØÀÇ ¿µÇâÀ» ¹Þ¾Æ ÆÛÆ÷¸Õ½º Áß½ÉÀÇ ¾ç»óÀ» º¸À̱⵵ ÇÑ´Ù. 3ÀåÀº 1980³â´ëÀÇ ¿¬±ØÀ» ¼Ò°³ÇÑ´Ù. ±º»ç Á¤±Ç¿¡ ÀúÇ×ÇÏ´Â ¹Ýµ¶ÀçÅõÀïÀ¸·Î¼ ¿¬±Ø È°µ¿ÀÌ ÀÖ¾ú°í, ¿¬±ØÀÇ »ó¾÷È°¡ ½ÃÀÛµÈ ½Ã±âÀ̱⵵ Çß´Ù. 4ÀåÀº 1990³â´ëÀÇ ¿¬±ØÀ» ¼Ò°³Çϴµ¥, ÀÌ ½Ã±â´Â À̵¥¿Ã·Î±â Á¾½Ä°ú ÇÔ²² Æ÷½ºÆ®¸ð´õ´ÏÁòÀÌ Å©°Ô À¯ÇàÇß´Ù. °¨°¢Àû À̹ÌÁö¿Í ÇØüÀûÀÎ °ÍÀÌ À¯ÇàÇßÁö¸¸ ¿©ÀüÈ÷ ¿¬±ØÀεéÀº ¼Òºñ»çȸ³ª Àΰ£¼º »ó½Ç°ú °°Àº ¹®Á¦¿¡ °ü½ÉÀ» °¡Á³´Ù. Æ÷½ºÆ®¸ð´øÇÑ °¨°¢À» ±¸»çÇÏ´Â ¿¬Ãâ°¡µéÀÇ ½Ã´ëÀ̱⵵ Çß´Ù. 2000³â´ëÀÇ ¿¬±ØÀ» ¼Ò°³ÇÏ´Â 5Àå¿¡¼´Â ¾ð¾î¿Í ÅؽºÆ®·Î º¹±ÍÇÏ¿© ÀÏ»óÀÇ ¼¼¹ÐÇÑ °áµéÀ» ¹¦»çÇÏ´Â »õ·Î¿î ÀÏ»ó±ØÀ» º¸¿©ÁØ´Ù.
Çѱ¹ Çö´ë ¿¬±ØÀº 1970³â´ë ¸»ºÎÅÍ ¿ì¸® »îÀ» Ç¥ÇöÇÏ·Á´Â ¿å±¸¸¦ µå·¯³»¸ç Á¤Ã¼¼ºÀ» Çü¼ºÇϱ⠽ÃÀÛÇÏ¿´À¸¸ç ½Ã´ëÀÇ È帧À» ¹Ý¿µÇÏ°í ºñÆÇÇÏ¸ç ¼ºÀåÇØ¿Ô´Ù. ¿À´Ã³¯ÀÇ ÇÑ±Ø ¿¬±Ø°è°¡ ¾ç±ØÈ¿Í ¹Î°£±Ø´ÜÀÇ ¼Ò±Ô¸ð ¼ø¼ö âÀÛ±ØÀÇ ¾àȶó´Â ¹®Á¦Á¡À» ¾È°í ÀÖ±â´Â ÇÏÁö¸¸, ÀÌ·± ¹®Á¦¸¦ Àß ±Øº¹ÇÑ´Ù¸é Çѱ¹ÀÇ ¿¬±Ø ¹®È´Â ´ëÁßµéÀÇ °ü½ÉÀ» ¹ÞÀ¸¸ç °è¼Ó ¹ßÀüÇÏ°í »çȸ¿¡ ´ëÇÑ ºñÆÇ°ú âÁ¶Àû È帧À» ¸¸µé¾î³»´Â ¿ªÇÒÀ» ÇÒ ¼ö ÀÖÀ» °ÍÀÌ´Ù.
?
Establishment of Korean Theater¡¯s Identity
Korean Theater from the 1970s up to the Present
The 1970s in Korea were times to begin to see the establishment of Korean theater¡¯s identity and development of contemporary characteristics in terms of theatrical aesthetics. This book examines Korean theater from the 1970s up to the present. The focus of this volume attempts to examine original Korean plays written and staged by Koreans, as opposed to translated works. This book opts to illustrate the narrative of contemporary Korean theater based on each decade from the 1970s to 2000s. It is because in consideration of the phases of change with regard to theater or sociocultural aspects in Korea, which shows natural demarcation by each decade.
Korean theatre prior to the 1970s is outlined in chapter one. Real theater culture in the Western sense began in Korea towards the end of the 19th century, and Korean theater up until the 1960s largely revolved around the imports and imitation of modern plays from the West. In chapter two deals with Korean theater in 1970s. The 1970s were a period featuring the recovery of theatrical identity and enthusiasm for experimental styles. Modernization of tradition is a recurring theme for contemporary theater in Korea this time. The chapter three deals with 1980¡¯s Korean theaters as a symbol of political resistance which engulfed in the anti-dictatorship movement. The chapter four introduces Korean theater of the 1990s which embroiled into the waves of postmodernism: the sense of liberation in sensual images and deconstructive wit, body and object. In chapter five is about the plays that returned to the fundamentals of language and text emerged on the stage to depict daily life in the smallest details.
As Korean original theaters replaced translations since 1970s, the major factors behind this change in trend are as follows: increased interest in unfair social realities and the active expression of the desire to portray the lives of the general public. Although the theatrical scene in Korea now has problems on its bipolarization and the attenuation of small-scale original theater produced by private theater groups, Korean theater culture will play the role to overcome such problems and to make creative streams.
¸ñÂ÷
Preface
01 Korean Theater Prior to the 1970s 1970³â´ë ÀÌÀüÀÇ Çѱ¹ ¿¬±Ø
02 Modernization of Tradition and Introduction of Western Experimental Theater in the 1970s ÀüÅëÀÇ Çö´ëÈ¿Í ¼±¸ ½ÇÇè±ØÀÇ ¼Ò°³: 1970³â´ë
- Yu Deok-hyeong: A Pioneer of Contemporary Korean Theater at Drama Center
µå¶ó¸¶¼¾ÅÍÀÇ ÃÑüÀû ½ÇÇè±Ø: À¯´öÇüÀÇ ¡´ÃʺСµ
- Ahn Min-soo: Encounter of Traditional Asian Theater and Theater of Cruelty
µ¿¾ç ÀüÅë ¿¬±Ø°ú ÀÜȤ±ØÀÇ ¸¸³²: ¾È¹Î¼öÀÇ ¡´Å¡µ, ¡´ÇϸêÅÂÀÚ¡µ
- Oh Tae-suk: Moli?re Revived in the Traditional Korean Performing Arts
¸ô¸®¿¡¸£¿Í Çѱ¹ ÀüÅ뿬ÈñÀÇ ¸¸³²: ¿Àż®ÀÇ ¡´¼è¶ÒÀÌ ³îÀÌ¡µ
- Succession of Traditional Performing Arts as Political Satir
ÀüÅ뿬ÈñÀÇ °è½Â°ú Á¤Ä¡Ç³ÀڷμÀÇ ¸¶´ç±Ø
- Theatre Group Minye¡¯s Adoption of Tradition ±Ø´Ü ¹Î¿¹ÀÇ ÀüÅëÀÇ ¼ö¿ë°ú ¾Æ³ªÅ©·Î´ÏÁò
- Non-realistic Playwrights »©¾î³ ºñ»ç½ÇÁÖÀÇÀû ±ØÀÛ°¡µé: ÃÖÀÎÈÆ, ÀÌÇöÈ, ÀÌ°¹é
03 Resurgence of Original Korean Theater and Madanggeuk in Anti-Dictatorship Activism in the 1980s âÀ۱صéÀÇ ºÐ¹ß°ú ¹Ýµ¶ÀçÅõÀïÀÇ ¸¶´ç±Ø: 1980³â´ë
- Madanggeuk Going Indoors ½Ç³»·Î µé¾î°£ ¸¶´ç±Ø: ¿¬¿ì¹«´ëÀÇ Á¤Ä¡Ç³Àڱصé
- The Korean Theater Festival ´ëÇѹα¹ ¿¬±ØÁ¦ Èñ°îµé: À±Á¶º´, ÀÌ°¹é, À±´ë¼º
- Launch of Mokwha Repertory Company by Oh Tae-suk ¿Àż®ÀÇ ±Ø´Ü ¸ñÈÀÇ Ãâ¹ü
- Jayu Theater Company: Display of Traditional Korean Beauty toward the World ¼¼°è¸¦ ÇâÇÑ ÇÑ±Ø ÀüÅë¹ÌÀÇ °ú½Ã: ±Ø´Ü ÀÚÀ¯
- Michoo Theatre Company: Modernization of Traditional Performing Arts ÀüÅ뿬ÈñÀÇ µ¿½Ã´ëÈ: ¼ÕÁøÃ¥ÀÇ ±Ø´Ü ¹ÌÃß
- Ki Kook-seo¡¯s Hamlet Series ±â±¹¼ÀÇ Çܸ´ ½Ã¸®Áî
- Introduction of Foreign Theater Productions and Diversification of Korean Plays ÇØ¿Ü ¿¬±ØÀÇ ¼Ò°³¿Í ¿¬±ØÀÇ ´Ùº¯È
04 Postmodernist Spectacle and the Emergence of Young Directors in the 1990s
Æ÷½ºÆ®¸ð´øÇÑ ½ºÆåÅÍŬ°ú ÀþÀº ¿¬Ãâ°¡µéÀÇ ºÎ»ó: 1990³â´ë
- Lee Youn-taek: A Powerless Intellectual and a Showman on the Stage
ÀÌÀ±ÅÃ: ¹«·ÂÇÑ Áö½ÄÀÎ, ¹«´ëÀÇ ÈïÇà»ç
- Chae Seung-hun: Insanity of Death in the Criticism towards Civilization
ä½ÂÈÆ: Á×À½ÀÇ ±¤±â¿Í ¹®¸í ºñÆÇ
- Choi Yong-hun¡¯s Theater Company ZakEunShinHwa: Exhilarating Satire through Collective Creation ÃÖ¿ëÈÆÀÇ ±Ø´Ü ÀÛÀº½ÅÈ: Áý´ÜâÀÛÀ» ÅëÇÑ °æÄèÇÑ »çȸ dzÀÚ
- Cho Kwang-hwa: The Patriarchal System and the Opressed Sexual Energy
Á¶±¤È: °¡ºÎÀåÁ¦ÀÇ ¾ï¾Ð°ú ¼ºÀû ¿¡³ÊÁö
- Kim Ara: A Glamorous Stylist amid Nature ±è¾Æ¶ó: ÀÚ¿¬ ¼ÓÀÇ È·ÁÇÑ ½ºÅ¸Àϸ®½ºÆ®
- Oh Tae-suk: Expos? on the Inhumanity of Korean Society ¿Àż®: ºñÀΰ£Àû Çѱ¹»çȸ¿¡ ´ëÇÑ °í¹ß
- Sohn Jin-chaek: National Consciousness and Advanced Theatrical Aesthetics
¼ÕÁøÃ¥: ¹ÎÁ·Àǽİú ÷´ÜÀû ¿¬±Ø¹ÌÇÐ
- Ki Kook-seo: Scumbags of Postmodernist Society ±â±¹¼: Æ÷½ºÆ®¸ð´ø »çȸÀÇ ¾²·¹±âµé
05 Appreciation of New Everyday Life and the Search for Alternatives since the 2000s
»õ·Î¿î ÀÏ»ó°ú ´ë¾È ¸ð»ö
- Park Keun-hyeong: Cracks underneath the Surface of Ordinary Life ¹Ú±ÙÇü: ÀÏ»óÀû Ç¥¸é ¹ØÀÇ ±Õ¿
- Han Tae-sook: Mise-en-sc?ne of Dark Desire ÇÑż÷: ¾îµÎ¿î ¿å¸ÁÀÇ ¹ÌÀå¼¾
- Choi ZinA: A Woman as the Subject of Desire ÃÖÁø¾Æ: ¿å¸ÁÀÇ ÁÖü·Î¼ ¿©¼º
- Bae Sam-sik: Contemplation on Ecological Life ¹è»ï½Ä: »ýÅÂÀû »î¿¡ °üÇÑ »çÀ¯
- Oh Tae-suk: From Rage and Nightmares to Reconciliation and Life
¿Àż®: ºÐ³ë¿Í ¾Ç¸ùÀ¸·ÎºÎÅÍ ÈÇØ¿Í »ý¸íÀ¸·Î
- Lee Youn-taek: Renewed Interpretation of Koreans throughout History
ÀÌÀ±ÅÃ: ¿ª»ç ¼Ó Çѱ¹ÀεéÀÇ ÀçÁ¶¸í
- Yang Jeong-woong: A Traveler of the Global Age ¾çÁ¤¿õ: ±Û·Î¹ú ½Ã´ëÀÇ ¿©ÇàÀÚ
06 Epilogue
Notes
Bibliography
ÁÖ°£·©Å·
´õº¸±â»óÇ°Á¤º¸Á¦°ø°í½Ã
À̺¥Æ® ±âȹÀü
±¹¾î/¿Ü±¹¾î/»çÀü ºÐ¾ß¿¡¼ ¸¹Àº ȸ¿øÀÌ ±¸¸ÅÇÑ Ã¥
ÆǸÅÀÚÁ¤º¸
»óÈ£ |
(ÁÖ)±³º¸¹®°í |
---|---|
´ëÇ¥ÀÚ¸í |
¾Èº´Çö |
»ç¾÷ÀÚµî·Ï¹øÈ£ |
102-81-11670 |
¿¬¶ôó |
1544-1900 |
ÀüÀÚ¿ìÆíÁÖ¼Ò |
callcenter@kyobobook.co.kr |
Åë½ÅÆǸž÷½Å°í¹øÈ£ |
01-0653 |
¿µ¾÷¼ÒÀçÁö |
¼¿ïƯº°½Ã Á¾·Î±¸ Á¾·Î 1(Á¾·Î1°¡,±³º¸ºôµù) |
±³È¯/ȯºÒ
¹ÝÇ°/±³È¯ ¹æ¹ý |
¡®¸¶ÀÌÆäÀÌÁö > Ãë¼Ò/¹ÝÇ°/±³È¯/ȯºÒ¡¯ ¿¡¼ ½Åû ¶Ç´Â 1:1 ¹®ÀÇ °Ô½ÃÆÇ ¹× °í°´¼¾ÅÍ(1577-2555)¿¡¼ ½Åû °¡´É |
---|---|
¹ÝÇ°/±³È¯°¡´É ±â°£ |
º¯½É ¹ÝÇ°ÀÇ °æ¿ì Ãâ°í¿Ï·á ÈÄ 6ÀÏ(¿µ¾÷ÀÏ ±âÁØ) À̳»±îÁö¸¸ °¡´É |
¹ÝÇ°/±³È¯ ºñ¿ë |
º¯½É ȤÀº ±¸¸ÅÂø¿À·Î ÀÎÇÑ ¹ÝÇ°/±³È¯Àº ¹Ý¼Û·á °í°´ ºÎ´ã |
¹ÝÇ°/±³È¯ ºÒ°¡ »çÀ¯ |
·¼ÒºñÀÚÀÇ Ã¥ÀÓ ÀÖ´Â »çÀ¯·Î »óÇ° µîÀÌ ¼Õ½Ç ¶Ç´Â ÈÑ¼ÕµÈ °æ¿ì ·¼ÒºñÀÚÀÇ »ç¿ë, Æ÷Àå °³ºÀ¿¡ ÀÇÇØ »óÇ° µîÀÇ °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·º¹Á¦°¡ °¡´ÉÇÑ »óÇ° µîÀÇ Æ÷ÀåÀ» ÈѼÕÇÑ °æ¿ì ·½Ã°£ÀÇ °æ°ú¿¡ ÀÇÇØ ÀçÆǸŰ¡ °ï¶õÇÑ Á¤µµ·Î °¡Ä¡°¡ ÇöÀúÈ÷ °¨¼ÒÇÑ °æ¿ì ·ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀÇ ¼ÒºñÀÚº¸È£¿¡ °üÇÑ ¹ý·üÀÌ Á¤ÇÏ´Â ¼ÒºñÀÚ Ã»¾àöȸ Á¦ÇÑ ³»¿ë¿¡ ÇØ´çµÇ´Â °æ¿ì |
»óÇ° Ç°Àý |
°ø±Þ»ç(ÃâÆÇ»ç) Àç°í »çÁ¤¿¡ ÀÇÇØ Ç°Àý/Áö¿¬µÉ ¼ö ÀÖÀ½ |
¼ÒºñÀÚ ÇÇÇغ¸»ó |
·»óÇ°ÀÇ ºÒ·®¿¡ ÀÇÇÑ ±³È¯, A/S, ȯºÒ, Ç°Áúº¸Áõ ¹× ÇÇÇغ¸»ó µî¿¡ °üÇÑ »çÇ×Àº¼ÒºñÀÚºÐÀïÇØ°á ±âÁØ (°øÁ¤°Å·¡À§¿øȸ °í½Ã)¿¡ ÁØÇÏ¿© ó¸®µÊ ·´ë±Ý ȯºÒ ¹× ȯºÒÁö¿¬¿¡ µû¸¥ ¹è»ó±Ý Áö±Þ Á¶°Ç, ÀýÂ÷ µîÀº ÀüÀÚ»ó°Å·¡ µî¿¡¼ÀǼҺñÀÚ º¸È£¿¡ °üÇÑ ¹ý·ü¿¡ µû¶ó ó¸®ÇÔ |
(ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º´Â ȸ¿ø´ÔµéÀÇ ¾ÈÀü°Å·¡¸¦ À§ÇØ ±¸¸Å±Ý¾×, °áÁ¦¼ö´Ü¿¡ »ó°ü¾øÀÌ (ÁÖ)ÀÎÅÍÆÄÅ©Ä¿¸Ó½º¸¦ ÅëÇÑ ¸ðµç °Å·¡¿¡ ´ëÇÏ¿©
(ÁÖ)KGÀ̴Ͻýº°¡ Á¦°øÇÏ´Â ±¸¸Å¾ÈÀü¼ºñ½º¸¦ Àû¿ëÇÏ°í ÀÖ½À´Ï´Ù.
¹è¼Û¾È³»
±³º¸¹®°í »óÇ°Àº Åùè·Î ¹è¼ÛµÇ¸ç, Ãâ°í¿Ï·á 1~2Àϳ» »óÇ°À» ¹Þ¾Æ º¸½Ç ¼ö ÀÖ½À´Ï´Ù.
Ãâ°í°¡´É ½Ã°£ÀÌ ¼·Î ´Ù¸¥ »óÇ°À» ÇÔ²² ÁÖ¹®ÇÒ °æ¿ì Ãâ°í°¡´É ½Ã°£ÀÌ °¡Àå ±ä »óÇ°À» ±âÁØÀ¸·Î ¹è¼ÛµË´Ï´Ù.
±ººÎ´ë, ±³µµ¼Ò µî ƯÁ¤±â°üÀº ¿ìü±¹ Åù踸 ¹è¼Û°¡´ÉÇÕ´Ï´Ù.
¹è¼Ûºñ´Â ¾÷ü ¹è¼Ûºñ Á¤Ã¥¿¡ µû¸¨´Ï´Ù.