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1960년대 오태석 희곡 연구 원문보기
(A) Study on Oh, Tae-suk's Dramas of 1960s

  • 저자

    임언미

  • 학위수여기관

    경북대학교 대학원

  • 학위구분

    국내석사

  • 학과

    국어국문학과 현대문학전공

  • 지도교수

  • 발행년도

    2004

  • 총페이지

    i, 78p.

  • 키워드

    현대희곡 오태석 희곡;

  • 언어

    kor

  • 원문 URL

    http://www.riss.kr/link?id=T10045628&outLink=K  

  • 초록

    Since 1970s, dramatist Oh, Tae-suk changed his focus of drama composition from experimentation of Western styles to exploration of a new realm under the proposition of 'modernization of Korean tradition'. This Study aims at elucidating the inducement of this direction change, by positioning his dramas of 1960s as his early works and analysing them in a methodical framework. His early works, “A Change of Season” and “The Queen and A Strange Monk”, staged by the National Drama Company of Korea, were proper enough to attract the attention of audiences of the times. In these works, Oh intentionally destroyed their story-telling structures, preferring expressions on stage that had an emphasis on drama techniques. It was his first experiments with unrealistic plays in cooperation with the national theater group. Afterwards, he proceeded to experiment absurd plays in an earnest way in concert with the Silheom Theater Group. “Judas, Before the Cock Crows”, “Breeding” and “Cross Traffic” have such typical structures of absurd dramas. But these works buried themselves in embracing Western techniques, lacking in theoretical basis fully grounded in Korean contexts. Hence they failed. A small theater Cafe Theatre opened around this time, and Oh put monodramas on its stage. “A Tumbler on Roller Skates” and “A Baby Carriage on the Overpass”, penned by him, attempted to narrow down the distance from the audience, though some techniques of absurd dramas such as free transition of time and space are still used in them. And in an effort to pursue changes, free from absurd structures, he also displayed some aspects of social consciousness in these monodramas. With these attempts, Oh had a moment of new horizon to liberate himself from the framework of absurd dramas: he found out the similarities in styles of Western absurd plays and traditional Korean dramas. Based on this recognition, he explored the possibility of conveying his unrealistic plays with the materials and techniques of 'traditional' works, not depending on Western ones. He tested this line of thought in his “Transplanting Surgery” and “Soittugi Play”. And ever since “The Grass Grave”, his another work, was recognized to be successful in 'modernization of tradition', he has not stopped such attempts to this day. In short, it can be said that 'attempts in unrealistic plays' characterize Oh, Tae-suk's plays, and this is the foundation of his dramaturgy in 1960s. His works in this period have a significance in that they were the first of its kind which took interests in the inner worlds of individuals in an age when original plays were desperately needed, and that the diverse styles of play he used to express those interests have influenced other dramatists of the same period and later times, thereby contributing to the diversification of drama styles in Korea.


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