• 비교문화연구
• /
• 제43권
• /
• pp.171-206
• /
• 2016

20세기 초 동아시아에서 러시아의 아나키즘 사상가 크로포트킨은 아나키즘 운동뿐만 아니라 지식 사상계 그리고 문학계에 매우 큰 영향을 미쳤다. 본고는 일본과 중국 그리고 이후 한국에서 사회주의 사상의 하나로 받아들여지고 각 방면에서 사상적 지침이 되었던 크로포트킨 저작의 수용사를 번역 양상과 번역 경로라는 관점에서 접근한 것이다. 식민지 조선에서 크로포트킨이 적극적으로 수용된 것은 오스기 사카에 등 일본의 선구적인 번역 작업들에 힘입은 바 크다는 것은 주지의 사실이나, 조선어로 번역되면서 다양한 참조와 변용 그리고 자기화의 과정을 거쳤음을 알 수 있다. '청년에게 호소함'과 같은 크로포트킨의 저작은 불온 선전물 팸플릿으로 검열과 단속의 대상이었지만 여러 경로로 수입되고 또 번역되어 20년대 선전문 번역의 존재 양상을 증언하고 있다. 당시에 신문 잡지 미디어에 소개된 크로포트킨에 관한 글들은 초기의 번역들이 그러하듯이 대부분 일본어 중역이거나 초역인 경우가 많다. 그러나 한편으로 중국쪽의 자료들이 참조된 경우들을 확인할 수 있는데 이는 중국이라는 번역의 매개와 영향관계를 암시한다. 이후 1930년대에는 사상 운동의 차원에서보다는 문학자와 비평가로서 크로포트킨을 전유하는 현상이 두드러지는데, 이를 통해 동아시아에서 러시아 문학을 이해하고 해석하는 주요한 통로이자 논거로서 크로포트킨이 자리하게 된 사정을 이해할 수 있다. 조선에서 크로포트킨 번역은 대부분 일본과 중국을 매개로 하여 동아시아에서 크로포트킨이 받아들여진 맥락 안에 놓이면서도 조선어로 번역하기라는 과제를 둘러싼 고투의 흔적들을 남기고 있다는 점에서 문제적이다.

• 한국연극학
• /
• 제40호
• /
• pp.345-400
• /
• 2010

Konstantin S. Stanislawski(1863-1938) is one of the great acting-teachers and directors. Especially his 'System' influences this day like his period so many actors and directors in the world. In Korea, Stanislawski was introduced at first in 1920's by Kim, Woojin, dramatist. After that time, his system was influenced fast everyone in the korean drama world. As a result, so many translations of his books and researches of his system are done until nowadays, but it is not perfect for the correct understanding of Stanislawski and his system. It seems to be several causes in this misunderstanding. And the purpose of this thesis is at first to observe historically the results of researches and translations on Stanislawski and his system in Korea and then to bring it in order according to characteristics. In this thesis are the process of reception observed dividing 4 periods. The first period is from the beginning to the liberation in 1945. The second is to 1980's and the next is to the year 2000. And the final period is from that time to the present time. As a result are several characteristics found as followings: 1) translations of Stanislawski's first book like other books, for example, Building a Character and Creating a Role, an Actor Prepares, are fast all secondhand translations, that means, man translated it not from russian direct but japanese or english. It caused man to misusing of terms and then misunderstanding on the system. 2) the researches on Stanislawski in are fast all concentrated on the book, an Actor Prepares, so this leads man to regard it as his whole acting system. On the other hand, thesisses which deal with his last and final acting technique, "the Method of the physical Action" are relatively not so much. As though man knows the last, man used to think that the system is developed systematically from the psychological technique to the physical action or the method of the physical action is only the way to understand of stanislawski's acting method. The psychological method and the physical are not the divided, different acting technique, but pairs which are applied to different objects, that is, the actor himself and the role in texts. 3) the political aspects are not considered especially under the situation of Stalin's social realism. This lack of the political context having relation with the system acts as a obstacle upon understanding the correct, whole his system. But so many thesises on this theme in other countries are so vivacious. For example, man can find subjects like "Stanislawski and Meyerhold", "means of Stanislawski's method for theatres in the social context". There are also many interesting Questions related to the physical action. That is, is the physical action the final acting technique or the materialistic dialectical device to survive under the Stalin's rule? Is there some interrelations between stanislawski's physical action and Meyerhold's biomechanics? In conclusion, the researches on Stanislwski and his system are not enough to understand correctly and overcome the system. We have to start the research again at least from the direct translation his books written russian in order to apply it in a new times.