고려인 극작가 김해운 희곡에 재현된 디아스포라 - <동북선>을 중심으로 - = The Diaspora Reproduced in Goryeoin playwright Kim Hae-woon's play - Focusing on the <Northeast Line>

다국어 초록 (Multilingual Abstract)

Kim Hae-woon lived in Primorye, Russia, when he created "Northeast Line", but he reveals his identity as a Goryeoin in his work. Seven of the 18 songs written in Korean and contained in the work are widely known Korean folk songs. I even tried to elicit sympathy from the Korean audience by rewriting our folk songs according to the time. In addition, the background of the work was made as the northernmost border area of North Korea, and he also mentions his hometown, Busan, in his work. In addition, it directly deals with the reality of the colonial country by accusing the atrocities of Japanese imperialism and Japanese frontman and ending with Koreans fighting in solidarity.
This researcher paid attention to this national consciousness revealed in "Northeast Line", and considered the diaspora reproduced in the work. In addition, it was intended to investigate the meaning of the diaspora reproduced by Kim Hae-woon in his work and the intention of playwriting. Since the artist is a migrant status, it was judged that the literary value of the work could be properly identified only by considering the diaspora reproduced in the work.
Through the study, it was confirmed that Kim Hae-woon dramatized and sang the hardships and adversities experienced by his compatriots under the colonial rule with a diaspora consciousness in his representative work "Northeast Line". It was intended to empathize with the diaspora audience by capturing the anecdotes and songs that our compatriots of the time would experience. Through this, it can be said that it not only comforted and encouraged compatriots struggling in foreign lands, but also presented zeitgeist required of their compatriots of the time. This aspect of the work seems to have drawn a favorable response from compatriots and established itself as a representative work of the artist for a long time. The diaspora embodied in "Northeast Line" is the result of Kim Hae-woon's efforts to protect his identity as a migrant writer even though he lives in another country.

참고문헌 (Reference)

• 1 김중관, "중앙아시아 고려인의 이주 과정과 민족문화의 정체성" 한국글로벌문화학회 7 (7): 1-29, 2016
• 2 박명진, "중앙아시아 고려인 희곡에 나타난 정체성과 언어의 특징" 국제어문학회 55 : 481-520, 2012
• 3 박명진, "중앙아시아 고려인 문학에 나타난 민족 정체성-희곡텍스트를 중심으로-" 인문과학연구소 (48) : 39-67, 2005
• 4 강회진, "중앙아시아 고려인 극평 고찰-신문"레닌기치"를 중심으로" 동아인문학회 41 : 101-124, 2017
• 5 동아일보, "조명희선생 처형 사유는 소설 '만주 빨치산' 때문, 김기현특파원"
• 6 정상진, "재소련 고려인 문학의 정체성" 해외민족연구소 (6) : 289-317, 2002
• 7 김길수, "오장군의 발톱을 통해 본 대조의 연극 미학" 한국드라마학회 7 : 33-71, 1995
• 8 나무위키, "신고산타령"
• 9 한국민족문화대백과사전, "성주풀이"
• 10 한국민족문화대백과사전, "사회주의 리얼리즘"
• 11 이재복, "무엇이 디아스포라를 가능하게 하는가?-이주, 기억, 경계 그리고 상실에 관한 이야기" 국제비교한국학회 31 (31): 19-45, 2023
• 12 윤금선, "러시아 지역 한인의 연극 활동 및 연극 비평 고찰-한인 신문"선봉"의 보도 자료를 중심으로" 배달말학회 49 : 253-299, 2011
• 13 임경규, "디아스포라 지형학" 앨피 2016
• 14 김병학, "김해운 희곡집" 학고방 2017
• 15 조훈성, "김해운 희곡 <동북선>과 <생활>의 공연콘텐츠화의 방향과 과제 검토" 한국문화예술위원회 2023
• 16 김성희, "김우진" 연극과 인간 2010
• 17 조규익, "구소련 고려극장에서 불린 우리말 노래들의 성격과 주제의식" 온지학회 35 : 205-238, 2013
• 18 임형모, "고려인문학에 나타난 낯선 장소와 공간 연구" 사단법인 한국문학과예술연구소 25 : 189-220, 2018
• 19 박명진, "고려인 희곡 문학의 정체성과 역사성-연성용 희곡을 중심으로" 한국극예술학회 19 : 171-217, 2004
• 20 위키백과, "고려인 강제이주"
• 21 박영은, "고려극장에서 상연된 중앙아시아 희곡의 역사·문화·예술사적 지형도 연구-문화 접변(接變)과 습합(習合)을 통한 시대적 수용과 변용 양상을 중심으로-" 한국슬라브학회 34 (34): 67-98, 2019
• 22 김형중, "5·18민중항쟁과 문학·예술 학술논문집" 도서출판 심미안 2006
• 23 양민아, "1920-30년대 연해주 한인들의 공연예술활동 현황연구" 재외한인학회 (34) : 297-322, 2014