• Journal of Korean Theatre Studies Association
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• no.48
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• pp.385-419
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• 2012

Son Jinchaek got into his directing career since 1976 when he founded the theatre group Minye with Huhgyu and others. His experience in Minye was the turnaround of his life; Huhgyu was a teacher in his artist's life whereas Brecht was a teacher for his ideology to make 'Korean Theatre'. From these two teachers, he learned how and why Korean Theatre should be made. Since then, Korean theatre was his calling for 40 years of his directing career. As he established Michoo in 1986, it served a turning point in his art. His focus was on intrinsic attributes of Korean Theatre with Madang Jungshin. With Madang Jungshin, he tried to get over the former generation's fixation on external materials of Korean traditional theatre and folk culture to make Korean Theatre. Rather, he believed Korean Theatre could be realized when it grafted Korean social reality onto the stage, while the form was subsequent. He advocated Korean Theatre should mirror present social reality and circulate social energy. Also, he did not give up aesthetics. On the contrary, his aesthetic style was conspicuously evident in his productions. In spite of his life long career with noteworthy works, the critical discourses are strikingly scarce especially when compared with other senior and peer directors such as Hugh Gyu, Ahn Minsoo, Oh Taesok, and Lee Yoontaek. During his career he has crossed into various genres from Changeuk, Madangnori, and to theatres, which were too versatile to thread them into a discourse and caused a lack of theoretical greeting. Madangnori has anchored its artistic structure on its polished aesthetics which were acclaimed by the general audience for 30 years. For theatre, he concentrated on one production per year to grasp its own style. Theatre works also had revealed his own style of being opened and of being emptied which was certainly different from Madangnori, but had same aesthetic principle within it. This paper attempts to recompose his stylistic features with 'Madang aesthetics' which were based on open space, open acting style, and graphic ensemble. This paper tries to demonstrate how his 'Madang aesthetics' has refined his productions in scenography, acting style, and in more like metaphoric and metonymic symbolic expression of the graphic ensemble. To do this, two productions were explored: eLee Chunpoongjeun and Yulha Ilgyee Manbo. Madangnori was sorely explored by Son Jinchaek with his artistic colleagues Yoon Munshik, Kim Jongyeup, Kim Sungnyu, music designer Park Buhmhoon, and choreographer Guk Sooho. Though it has been ignored for its popular appeal by the doctrinaire theoretical opinions, it started to pull academic attention recently. His theatres are also getting sharp with his 'Madang aesthetics' as well as minimalistic expression in scenography, acting style, and graphic ensemble. Madang Jungshin is the soul and Madang aesthetics is the body in his artistic works. The Madang Jungshin animates the Madang aesthetics, so they become alive in his theatre.

• 지역과문화
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• v.7 no.3
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• pp.23-48
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• 2020

Hahoebyeolsingut Talnori, which is under permanent performance, has lost its relevance to folklore and rituals of the villagers and has secured the possibility of change depending on the actor's choice. This article seeks to expand the current stuck performance of Hahoe mask play, which has great significance as a play and play for the audience. To this end, We studied the possibility of expanding the performance of Hahoe Talnori by trans-identity of the Choragi. Chorangi character derides yangban, seonbi and monk, who are representatives of the establishment. Those who have a consciousness of potential transformation, those who passively represent the masses, and those who are tacitly authorized by the audience to ridicule the ruling class. The audience feels exhilarated by the super-cool, but at the same time reduces the limits. We transformed Chorangi who is clever but cannot overcome the limits of his status, into a character with a sense of transformation by applying the method of turnning identity and changing identity of the theory of trans-identity. And I applied the method of expansion of the media conversion storytelling theory to create a new Chorangi Madang that conforms to the audience's needs and the spirit of the times. In addition to the performance of Yangban Seonbi Madang(Act of Nobleman and Scholar) which ends with an ambiguous reconciliation, we wanted to complete it in a way that even today's audiences could accept by applying the function of the Hahoebyeolsingut Talnori ambassador and the principle of implementation. And We writed it in a script. This article is meant to be an experimental study that attempted to transform traditional performing arts in the context of new creation of tradition. Preservation and transmission of traditional performing arts are important, but it is necessary to move forward according to the trend and spirit of the times.