1920년대 개벽에는 문학으로서의 희곡을 의식한 글쓰기와 공연문화의 전통이 내재된 글쓰기들이 함께 존재한다. 희곡쓰기는 현실 가운데에서도 공연의 현실을 반영하게 된다는 측면에서 본다면, 개벽에 실린 희곡(戱曲)으로 호명된 글쓰기는 공연의 현실보다는 당시 지식인들의 의식세계가 지향하는 바가 반영되어 있었다. 또한 그것은 1920년대 문화운동과 의식개혁을 실천하는데 앞장 선 개벽의 의사소통 방식으로 선택된 것이기도 하다. 본문에서 상술하겠지만, 이러한 희곡과 달리 당시 공연양식이 반영된 글쓰기는 대중적인 독자를 지향하는 종합문예지가 의식할 수밖에 없는 상황 속에서 선택된 측면도 있다. 이들은 의식적인 글쓰기인 희곡과 달리 한국 공연예술의 연극성이 무의식적으로 반영된 글쓰기이다. 근대적인 문학양식의 희곡이 교육에 의해 그리고 시대적인 맥락에 의해 사회를 재현하는 전략적인 차원의 글쓰기였다면, 이 글들은 당대 공연문화의 경험과 관습이 재현된 글쓰기이다. 이들은 ‘대화(對話)’양식으로 호명되거나 대화를 주요한 극적 자질로 인식한 글이었다. 이들 가운데, 목적 지향적인 글쓰기들과 극적 경험을 그대로 재현하고 있는 글쓰기들이 이 연구의 주된 고찰 대상이다. 후자는 전통극의 재현 이미지들을 토대로 한 글쓰기들로 풍자와 해학을 주요한 극적 특질로 지닌 재담(才談) 중심의 극적 형상화 방식이 이용되고 있다.

This paper make a study of the journal's 『GeaByuk(開闢)』which carries dramatical writing. It is making research that play wright in a dramatic performance had immanent to experience or usual. In the end the purpose of this study is to examine the Korean dramaturgy of the come into being in the 1920. In 1920's, it was time when tests and explorations in styles of drama were in process actively, in result, Korean play wright formation was produced. There was a dramatical write of the 對話(conversation)·諷刺(satire)·滑稽(humor)·打令(a ballad of tar-young) and so on, that enrich the contents for the Korean dramaturgy In this study, We can find that the style of Korean dramaturgy is reflected in the popular reader had experienced in playing. The other hand, method of modernistic drama is more effective on enjoying play than 才談(witticism story) with traditional performance, colloquial style lines, reality of a play wright. It's because 才談(witticism story) had functioned in social communications that the writer was selected as a play wright styles of in the published press in the journal's 『開闢』. So Korean Modern play wright was to popular reader have experienced in playing.

This paper make a study of the journal's 『GeaByuk(開闢)』which carries dramatical writing. It is making research that play wright in a dramatic performance had immanent to experience or usual. In the end the purpose of this study is to examine the Korean dramaturgy of the come into being in the 1920. In 1920's, it was time when tests and explorations in styles of drama were in process actively, in result, Korean play wright formation was produced. There was a dramatical write of the 對話(conversation)·諷刺(satire)·滑稽(humor)·打令(a ballad of tar-young) and so on, that enrich the contents for the Korean dramaturgy In this study, We can find that the style of Korean dramaturgy is reflected in the popular reader had experienced in playing. The other hand, method of modernistic drama is more effective on enjoying play than 才談(witticism story) with traditional performance, colloquial style lines, reality of a play wright. It's because 才談(witticism story) had functioned in social communications that the writer was selected as a play wright styles of in the published press in the journal's 『開闢』. So Korean Modern play wright was to popular reader have experienced in playing.

『GeaByuk(開闢)』journal, Drama, Korean dramaturgy, conversation·satire·humor·a ballad of tar-young, the popular reader experienced in playing, witticism story with traditional performance