영남지역 문화어문학 연구인력 양성 사업단

　

　　

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김재석/참여교수/(1920년대 카프 계열 극단의 번역극 공연인식과 그 의미) 조회수 : 726, 2016-06-03 15:00:15

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김재석, 1920년대 카프 계열 극단의 번역극 공연인식과 그 의미, 어문학 129, 한국어문학회, 231-262, 2015.9.

<목차>
1. 서론
2. 염군사 · 파스큘라의 합법적 극장공연 지향
3. 불개미 극단의 〈해방된 돈키호테〉와 공연 실패
4. 종합예술협회의 〈뱜 맛는 그 자식〉과 공연 성공
5. 카프 계열 극단 번역극 공연의 성과와 한계-결론을 겸하여

<내용요약>
KAPF was founded in 1925 and the two companies, Yeomgunsa and PASCULA played a central role in its foundation. They had a high interest in drama but they did not perform themselves. The members belonged to the companies were interested in Anton Chekhov and Lady Gregory. They had little difference from theatrical people participating in modern drama movement of colonized Choson. The amateur theatrical people connected with laborer union and peasant union performed the dramas in terms of class.
KAPF didn’t make theatrical department inside because of insufficiency of man power. KAPF had the aim of legal theatrical performance permitted by Japan. The theatrical company, Bulgaemi in which the leading people of KAPF took part were organized in January of 1927. Though it belonged to KAPF, Bulgaemi had no difference from the other theatrical companies performing modern dramas in colonized Choson in the aim and the way of management. Bulgaemi chose Anatoly Lunacharsky’s Liberated Don Quixote as the first work of performance, but it could not pass Japanese censorship of performance. As a result, the theatrical company disappeared. This work was the wrong choice that they didn’t consider Japanese censorship and it also was not suitable for the aim of Bulgaemi.
Jonghabyesulhyeopoe organized in July of 1927 had the aim of performance of enlightenment drama. In the front side, it had many people who could participate in performance directly. Moreover it integrated with Baengnyanghoe and collected many actors, so its capability of performance were reinforced. It prepared A Marriage by Anton Chekhov and He who gets slapped by Leonid Andreyev, but could perform He who gets slapped because of time shortage. The performance was successful and the acting of actors was much praised. However, this work had the problem that it had little viewpoint of class that KAPF drama should have. It was because they chose the works which could be passed the Japanese censorship.
The criticism arose on that it could not perform the translated dramas which could the model of a proletarian drama. In the center of criticism were mostly the people belonged to Tokyo branch of KAPF and they intended to introduce an itinerant theatrical troupe to colonized Choson. It was not the way of waiting the audience in the theater but the way of going to the field of labor and peasant and performing. But, in the colonized Choson, an itinerant theatrical troupe also had to pass Japanese censorship, so it could not be a suitable alternative. Through the experience of performance of KAPF theatrical companies, it was ascertained that it was difficult to perform ideal proletarian translated dramas in theaters as long as Japanese censorship existed. It could be the opportunity that KAPF actively tried to perform proletarian creative dramas in 1930s.

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