고려극장에서 상연된 중앙아시아 희곡의 역사·문화·예술사적 지형도 연구- 문화 접변(接變)과 습합(習合)을 통한 시대적 수용과 변용 양상을 중심으로 -

Abstract

Most of the researches on the Korea Theater up to now were focused on which plays in “Korean language” were performed at the Korea Theater from the perspective of Korean literature. Although the preservation of our language and traditional arts were important responsibilities of the Korean artists, the Korea Theater amidst the Soviet regime and the independent Republic of Kazakhstan has been advocating evolution through painstakingly choosing artworks that can raise its artistic status while being responsive to government policies. Accordingly, performance of plays based on original Korean play script was one of the important activities of the Korea Theater, however the leaders of the theater did not pressure the playwrights to write plays only in Korean. Even though translating plays in other languages and putting them on stage was another important mission, whether plays were suitable to be in the theater’s program was their most important task. With such awareness, this study takes a closer look at the following perspectives among the plays performed on stages in Central Asia: The cultivation of multicultural spirit through traditional plays created by Kazakhstan’s representative playwrights Gabit Musrepov and Mukhtar Auezov; cultivation of revolutionary spirit and women’s enlightenment through socialistic realism-oriented performances created by Uzbekistan’s representative playwright Hamza Hakimzoda Niyazi; and the formation of spiritual consensus through humanism-oriented performances created by Kyrgyzstan’s representative playwright Chingiz Aitmatov. Based on this, the study sheds light on the staging repertoire of the Korea Theater, which gradually converged Soviet characteristics, Central Asian worldview, and Koreans’ ethnic elements, as well as contemplating the cultural/artistic goals of the theater’s leaders, aspects of acculturation, and obligation consciousness of the times.