KCI등재
이효석의 희곡 『역사』연구 = A Study on the 「History」 of Lee Hyo Seok's Play
저자
정일권 (조선대 국어국문과)
발행기관
학술지명
권호사항
발행연도
2003
작성언어
Korean
KDC
800.000
등재정보
KCI등재
자료형태
학술저널
발행기관 URL
수록면
141-180(40쪽)
제공처
소장기관
Gasan Lee Hyo-seok (1907-1942) was well known as a writer who wrote poems with the style of novels and as a representative aesthetic novelist in the 1930s. However, he had a special affection for other genres, especially, scenarios and dramas. This study examined his thinking as a writer that had not been found in his novels, centering on History, his only posthumous drama, published in <Munjang> in December, 1939. As it was considered that History was a parody of the Bible, a difference between them and their continuance was compared. The author's intention was revealed symbolically through acculturation between the original text and the parodied text.
History showed continuance of the original text in space and time. It was six days before the Passover ( March 15 ), immediately before the Last Supper and resurrection of Jesus Christ, which happened under the pressure of Roman imperialism. The continuance of the time and space symbolized the phenomenal world of colonialization and his motives to create. And there was a difference in the creation of the narrative structure and character creation between History and the original text. To acculturate narrative structure, main characters and narratives were acculturated. For acculturation of main characters, Jesus who was a main hero of the original text, was replaced by Lasaro and Maria. Such replacement of the characters reflects the writer's intention to put an emphasis on cool-hearted reality. Also due to acculturation of main characters, the conflicting structure was deepened and dramatic elements were apparently revealed.
The largest acculturation between the two texts were the creative characters of Jesus and Thomas. That is, the grandiosity of Thomas, who struggled against cruel reality, was similar to that of Jesus, who entered Jerusalem for the forgiveness of the sins of man, though he foretold he would die on the cross. Thus, Thomas and Mesuram, who fought for liberation from the pressure, replaced Jesus who saved people from the punishment. Finally, Gasan indicated only positive intervention in the reality of the country under the pressure of the Japanese imperialism is a solution of the problem.
In the character creation, the characters of History had different features from those of the original text Gasan incorporated characters of the Bible to create characters suitable for his intention. Therefore, characteristics of characters were enforced according to their roles.
History symbolized Gasna's resistance against evil conduct and the violence of the times through a parody of the Bible. Though it was represented metaphorically, it was certain that Gasa's will and standpoint were determined when considering the time when the work was created. Therefore, it is confirmed that the Gasan revealed in the History was not a disguised aestheticist any longer.
The subject of History was "liberation from shackles of colonialization", which was a characteristic of dramas in the 1930s Lasaro, who was resurrected from the door of death, met with terrible reality and walked up and down restlessly by the bed where life and death coexist and the windows symbolize inside and outside. Lasaro jumped off the bed and followed after Thomas, which represented a participation in reality and historical consciousness by the author. As seen in the image of Maria, Maria was inspired only through aesthetic consciousness and followed the custom of the past characteristics of her sex. Therefore, the narratives were not simplified enough to be radical in a mutual relation, which led to a lessening of the dramatic effects. It was a limit of History as a drama.
As seen above, History was a work at the end of Gasan's period and showed ideological characteristics of the time. Gasan's historical consciousness and his Romantic realism were revealed in this work. Therefore, History revealed the author's historical consciousness of reality and resistance behind an evaluation that he is an aesthetic novelist. And for this work, distinctive materials and an alienation effect were used like modern dramas. It also has a meaning in drama history in that it was a representative resistance drama published in the drama depression period.
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