Abstract:

Dorothy and DuBose Heyward's Porgy was performed in colonial Korea in 1937. This paper explains the process of performing Porgy, in connection with the strategy to popularize the singeuk (new drama) by Yoo Chijin, a playwright and director who argued that one could popularize singeuk by promoting performance of colonial Korean dramas. Yoo's strategy encountered great difficulties because of opposition by members of the Research Association of Theatrical Art and strict Japanese censorship. Yoo tried to overcome these problems pertaining to realistic plays such as Slums and The Cow; however, his efforts were in vain. Therefore, Yoo undertook a new strategy of adapting the traditional The Story of Chunhyang, a play of "romanticism based on realism," which bypassed censorship by expressing the reality of the era metaphorically and amused the audience of the grand theatre with songs and dances. Porgy's songs and dances influenced The Story of Chunhyang. Although the audience responded favorably to The Story of Chunhyang, critics found fault with the fact that Yoo was a playwright who followed the practices of commercial theatre. Yoo tried to refute their criticism by producing Porgy, a performance of "romanticism on the basis of realism." He argued that The Story of Chunhyang reflected the latest theatre trends in the United States.

摘要：

Dorothy和DuBose Heyward的《Porgy》于1937年在韩国殖民时期演出。本文结合剧作家兼导演Yoo Chijin提出的推广singeuk（新剧）的策略，解释了执行Porgy的过程。通过促进韩国殖民时期戏剧的表演。由于戏剧艺术研究协会成员的反对和严格的日本审查制度，Yoo的策略遇到了很大的困难。Yoo试图克服与现实剧有关的这些问题，例如《贫民窟》和《奶牛》。但是，他的努力是徒劳的。因此，Yoo采取了新策略来改编传统的《春阳物语》这是一部“基于现实主义的浪漫主义”戏剧，它通过隐喻地表达时代的现实而绕过了审查制度，并通过歌舞将大剧院的观众逗乐了。波吉的歌舞影响了“春阳物语”。尽管观众对《春香的故事》的反应很满意，但批评家发现，刘o是一个遵循商业剧院惯例的剧作家，这是错误的。Yoo试图通过制作Porgy来反驳他们的批评，Porgy的表现是“基于现实主义的浪漫主义”。他认为《春香的故事》反映了美国最新的剧院趋势。