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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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This paper is aimed to find out the appropriation of A Doll’s House shown in Choihuui aksu (The Last Handshake) and in its relation examine The Society of the Drama Art’s inclination for modern drama. The touring company in this society performed Jo Myunghee’s Kimyoungilui Sa (Kimyoungil’s Death), Hong Nanpa’s Choihuui aksu (The Last Handshake) and Dunsany’s The Glittering Gate in the summer of 1921. Among them, Hong Nanpa’s Choihuui aksu (The Last Handshake) was adapted from the novel with same title which had been appropriated from A Doll’s house and serialized in the Mailsinbo, the newspaper.
This work consists of two acts and its contents is that Hwabong comes to realize that Hoongsoo, her lover has a premodern way of thinking for woman and says good bye to and leave him. She comes to discover the contradiction of male centered society from Hoongsoo who doubts her sincere love towards him and puts her awakening into practice by leaving him. The drama plot that a woman who isn’t aware of her real figure in contradicted social mechanism comes to realize this fact and put her recognition into action, looking for new way is actually the appropriation of A Doll’s House.
The drama plot like this is applied to the other two dramas performed by the touring company in The Society of the Drama Art. Jo Myunghee’s Kimyoungilui Sa (Kimyoungil’s Death) has the plot that Kimyoungil realizes it is a right way to fight the contradiction of reality and practices it. Dunsany’s The Glittering Gate gives the realization that the true values of life should be found in reality. Therefore these three works have the common feature that they are all the appropriation of A Doll’s House.
The appropriation of A Doll’s House shown in the drama choice by The Society of the Drama Art came from the awareness of this society which tried to overcome the premodern contradiction in colonized Choson through the movement of modern drama. The Society of the Drama Art’s inclination for modern drama had a great effect on the formation of the social drama in 1920s.
This work consists of two acts and its contents is that Hwabong comes to realize that Hoongsoo, her lover has a premodern way of thinking for woman and says good bye to and leave him. She comes to discover the contradiction of male centered society from Hoongsoo who doubts her sincere love towards him and puts her awakening into practice by leaving him. The drama plot that a woman who isn’t aware of her real figure in contradicted social mechanism comes to realize this fact and put her recognition into action, looking for new way is actually the appropriation of A Doll’s House.
The drama plot like this is applied to the other two dramas performed by the touring company in The Society of the Drama Art. Jo Myunghee’s Kimyoungilui Sa (Kimyoungil’s Death) has the plot that Kimyoungil realizes it is a right way to fight the contradiction of reality and practices it. Dunsany’s The Glittering Gate gives the realization that the true values of life should be found in reality. Therefore these three works have the common feature that they are all the appropriation of A Doll’s House.
The appropriation of A Doll’s House shown in the drama choice by The Society of the Drama Art came from the awareness of this society which tried to overcome the premodern contradiction in colonized Choson through the movement of modern drama. The Society of the Drama Art’s inclination for modern drama had a great effect on the formation of the social drama in 1920s.
목차
1. 서론
2. 노라와 화봉 : ‘발견과 자각, 그리고 실천’
3. 홍난파와 「극예술협회」의 〈인형의 집〉 발견
4. 〈인형의 집〉의 전유에서 본 「극예술협회」 근대극의 지향 - 결론을 겸하여
참고문헌
［Abstract］
참고문헌 (3)
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UCI(KEPA) : I410-ECN-0101-2014-800-003347470