7 research outputs found
A Study on the Academism and the Characteristic of Cultural Movement of the 1960s University Theater Production
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Όλ¬Έ(μμ¬)--μμΈλνκ΅ λνμ :μΈλ¬Έλν κ΅μ΄κ΅λ¬Ένκ³Ό,2019. 8. μμΉκ΅.The purpose of this paper is to examine the political, social and cultural context surrounding the university theater movement in the 1960s to identify characteristics of the cultural movement and its meaning of the university theater movement that developed under the influence of academism. This paper also intends to reveal the characteristics and definition of "university theater production" within the theatrical context of the 1960s, assuming that the university theater movement in the 1960s is based on the generation recognition of "University" and "University student" after the Korean war and the April Revolution.
This paper refers to the view of the cultural sociology of Raymond Williams from the perspective of cultural studies in order to analyze the context of the theater scene of the period and the meaning of university students in the 1960s, which were triggered by the political events of the April Revolution. Through this, the university theater movement in the 1960s contributed to nurturing and producing new audiences that were based on the academic system of universities, which were reorganized after the Korean War. The university theater movement not only served as a prelude to new 'experimental theatre' that was based on amateurism, but it also attempted as part of a cultural movement amid the criticism of Korean societys political reality at that time.
Especially during the 1960s, the university theater production should be understood in the context of the cultural movement as it was actively involved and developed with the cultural sensibilities of university students of the era, and not as a theatrical movement in a narrow sense by handful of university stage actors. This production wants to reveal the characteristics of the "cultural movement" within the university theater movement on a public level encompassing the entire university culture of the time, and not the "theater movement" on a basic level. As a cultural opportunity and the background of the 1960s, this paper focuses on the April Revolution and decides to use the university student plays as the subject and scope of the study. To this end, various materials such as the repertoire list of university theater productions, program books, oral archive materials, and university history research were referred to during the academic year of the time.
Chapter 2 examines the knowledge fields and changes in universities during the 1950s and 1960s, which formed the basis of cultural movements. In the late 1950s, when first-generation scholars entered universities after the liberation, they identified the situation of the academic fields and their role as telegraphs of culture, which revealed that the foundation of university culture laid in line with the beginning of campus festivals, the spread of American culture, and the growth of popular culture. The purpose of this project was to identify the cultural status and the meaning of "theater production" in university culture at that time and to confirm that the movement of theater productions developed in ways that distinguishes itself from established productions, while thoroughly aware of its role and mission of the "university theater production.
Chapter 3 looks at the specific aspects of the 1960s university theater movement, which was in the midst of the consciousness of students and their generation, who emerged as cultural entities after the April Revolution. During this period, university theater groups emphasized their roles as an 'experimental stage' and wanted to implement it through real-life performances. During this time, the western productions were actively accepted as a model for the modern Korean productions. While European theatrical works were performed as a rejection of the existing Korean realism style, the influence of American culture as a symbol of Western culture had become stronger, and the university stage was filled with British-American modern theater. In addition, native language productions were frequently performed by students majoring in foreign languages, with the emphasis on 'ability to speak foreign languages' as it was viewed as traits of cultured people. The performance of translated productions in universities was actively accepted in the sense of ultimately laying the foundation for "the Our New Modern Drama," but it was criticized for its Western populism attitude and losing its original purpose.
Finally, Chapter 4 confirms that performances of original productions and traditional performances were attempted in accordance with critical reflection on performances of westernized productions and the perception of university students about the political reality. While the works of the newly emerging playwright after the war were performed, the works of the existing and new playwrights also re-emerged in the name of finding the root of Our Play. Furthermore, productions created by students had begun to appear on stages with a sense that only university theater production should secure their identity and independence. Meanwhile, interest in traditional methods have been heightened as an art form that reveals resistance to the Park Chung-hee. In the beginning, the focus was on recreating the Korean traditional theater style,but it gradually led to new performances that were a combination of traditional and western style theaters. The performances served as the source of the Madangguek movement in the 1970s with experimental minds and formal attempts, even though they were not part of the mainstream contemporary university theater movement.
In summary, the 1960s university theater movement developed into a pursuit of their own "ideology" that was different from established productions with the zeitgeist as a university student based on the Academism within the university. In short, this is the goal of Our New Modern Theater. In the context, it accepted translated westernized productions, attempted original productions, and traditional-related performances. Thus, in the 1960s, the university theater movement was able to establish itself as a "cultural movement" that was closely related to the undergraduate (youth) culture of the time.μ΄ λ
Όλ¬Έμ λͺ©μ μ 1960λ
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νλ λ° μλ€. μ΄λ₯Ό μν΄ λ³Έκ³ λ 1960λ
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μ΄ν λνμμ μΈλ μΈμμ κΈ°λ°νκ³ μμμ μ μ νκ³ μ΄μ ν¨κ» 1960λ
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μ΄λΌλ μ μΉμ μ¬κ±΄μΌλ‘λΆν° μ΄λ°λλ 1960λ
λ λν, λνμμ μλ―Έλ₯Ό λ€μΈ΅μ μΌλ‘ λΆμνκΈ° μν΄ λ¬Ένμ°κ΅¬(cultural studies)μ μ
μ₯μμ λ μ΄λ¨Όλ μ리μμ¦μ λ¬Ένμ¬νν(the sociology of culture)μ κ΄μ μ μ°Έκ³ νμλ€. μ΄λ₯Ό ν΅ν΄, 1960λ
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λ λνκ·Ή μ΄λμ λν λ΄ μμΉ΄λ°λ―Έμ¦μ κΈ°λ°μΌλ‘ λνμμΌλ‘μ μλμ μ¬λͺ
κ°μ κ°κ³ κΈ°μ±κ·Ήκ³Όλ λ€λ₯Έ μμ λ€λ§μ μ΄μ¦μ μΆκ΅¬νλ κ²μΌλ‘ μ κ°λμλ€. κ·Έλ¦¬κ³ μ΄λ νλ§λλ‘ μλ‘μ΄ μ°λ¦¬μ μ°κ·Ήμ λν μ§ν₯μ΄λΌ ν μ μλ€. μ΄λ¬ν λ°°κ²½ μμμ ꡬ미 λ²μκ·Ήμ μμ©νμμΌλ©° μ°½μκ·Ή λ° μ ν΅ κ΄λ ¨ 곡μ°μ΄ μλλμλ€. μ΄μ 1960λ
λ λνκ·Ή μ΄λμ λ¨μν μ°κ·Ήμ΄λμ μ°¨μμ λμ΄μ λΉλ λνλ¬Ένμ κΈ΄λ°νκ² κ΄κ³νλ λ¬Ένμ΄λμΌλ‘μ μ리맀κΉν μ μκ² λμλ€.1. μ λ‘ 1
1.1. λ¬Έμ μ κΈ° λ° μ°κ΅¬μ¬ κ²ν 1
1.2. μ°κ΅¬μ μκ° 8
2. 1950~60λ
λ λν λ΄ μ§μμ₯μ λ³νμ λ¬Ένμ΄λμ κΈ°λ°νμ± 17
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2.2. λνλ¬Ένμ λ°ν₯κ³Ό λν μ°κ·Ήλ°μ μ±μ₯ 32
3. 1960λ
λ λνκ·Ήμ μν λͺ¨μκ³Ό λ²μκ·Ήμ ν½μ°½ 39
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3.2. λ―Έκ΅ νλκ·Ή 곡μ°μ ν΅ν νλμ μνκ°κ°μ κ΅¬μΆ 53
4. κ΅°μ¬μ κΆ μλ λνκ·Ήμ νμ€μΈμκ³Ό λ¬Ένμ΄λμ νλ 69
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4.2. μ ν λ―Όμ‘±μ£Όμμ μμ μμμΌλ‘μ μ ν΅μ°ν¬μ λ°κ²¬ 92
5. κ²°λ‘ 112
μ°Έκ³ λ¬Έν 115
λΆλ‘ 118Maste