이 논문은 프랑스 혁명 기간에 발생한 방데전쟁에 관한 국가기억과 민간기억 사이의 갈등과 퓌뒤푸 시네세니라는 방데전쟁에 대한 대안적 기념문화의 분석을 목적으로 한다. 이를 통해 내전 상황에서 국가 권력에 의해 자행된 민간인 학살에 대한 대안적 기념문화가 어떻게 상처의 치유를 넘어서는 미래지향적 기억을 창출하는지 성찰할 것이다. 1793년에 발생한 방데전쟁은 대혁명기 이래 20세기 중반까지 프랑스 대혁명에 대한 반혁명(Counter-Revolution)으로 평가되었다. 즉, 보수적인 왕당파 귀족과 성직자의 음모에 방데 지방의 농민들이 가담한 것으로 기억되었다. 반면 이 지역의 민간인들은 방데전쟁 당시의 공화파 군대의 대향학살을 기억하기 위해 지속적으로 노력했다. 20세기 중반부터는 농민들의 주도와 자발성에 대한 사회사적 연구가 활발해졌고, 혁명 자체에 대한 반대가 아니라 혁명이 낳은 급격한 변화에 대한 저항을 의미하는 대항혁명(Anti-Revolution)이란 평가가 등장했다. 1978년에 필립 드 빌리에(Philippe de Villiers)의 주도로 처음 시작된 시네세니는 커다란 성공을 거두면서 프랑스인과 유럽 전역에 방데전쟁에 대한 새로운 인식을 확산시켰다. 퓌뒤푸의 성공 원인은 첫째 장소성이다. 시네세니 공연이 펼쳐지는 퓌뒤푸의 고성(古城)은 방데전쟁의 현장 가운데 한곳이었다. 두 번째는 자율성과 참여이다. 세네세니는 지역주민들의 자발적인 참여를 통해 만들어지고, 어떠한 외부의 후원금도 받지 않는다. 셋째 인권이라는 보편적 가치를 위해 공연의 수익금 일부를 인도적 활동에 사용한다. 넷째 미래지향적 메시지를 전달하고 마지막으로 축제와 문화를 결합시킨다는 점이다. 퓌뒤푸의 시네세니는 방데 지역민의 트라우마를 치유하는 동시에 전쟁의 참상을 고발하는 성공적인 대안적 기념문화로 간주된다.

The purpose of this paper is firstly to examine the conflicts between governmental memory and civilian memory on the Vendée War occurring during the French Revolution, secondly, to analyze Puy du Fou Cinéscénie as an alternative commemoration of the civil war and finally to ponder on the way in which the alternative commemoration of the massacres done by the government creates future-oriented memories beyond simply healing psychological wounds. The Vendée War in 1793 had been regarded as a counter-revolution against the French Revolution (1789-1799) from the Revolution days up until the mid 20th century. It means that the war had been acknowledged like this: the peasants in Vendée joined the conspiracy contrived by the conservative Royalist nobles and the clergy. In the meanwhile the Vendéans had continuously been making their efforts to remember the massacres committed by the Republican army during the revolt. In the mid 20th century a large amount of social historical research began to focus on the initiative of the civilians and their spontaneousness during the war and finally there appeared the claims that the rebel was not against the Revolution itself, but against the radical changes the Revolution brought about, therefore an anti-Revolution. Puy du Fou Cinéscénie started in 1978 led by Philippe de Villiers, and it was found as a great success, shedding a new light on the Vendée War and spreading a new understanding of it around the Europe. The first key to success is its location: the old castle where the show was originally held was one of the actual battle sites during the war. The second factor to success is the autonomy and participation of the people in Vendée: volunteers from the local villages prepare Cinéscénie by themselves, and they don’t have any donations from the outside. The third is to use some money earned from the Cinéscénie for human rights activities. The fourth is to make future-oriented message. And the fifth is to combine festivity and culture. For these reasons, the Puy du Fou Cinéscénie is now widely accepted as an alternative commemoration in terms of alarming the tragedy of war, not to mention as a cure for the trauma the Vendéans has suffered from.

The purpose of this paper is firstly to examine the conflicts between governmental memory and civilian memory on the Vendée War occurring during the French Revolution, secondly, to analyze Puy du Fou Cinéscénie as an alternative commemoration of the civil war and finally to ponder on the way in which the alternative commemoration of the massacres done by the government creates future-oriented memories beyond simply healing psychological wounds. The Vendée War in 1793 had been regarded as a counter-revolution against the French Revolution (1789-1799) from the Revolution days up until the mid 20th century. It means that the war had been acknowledged like this: the peasants in Vendée joined the conspiracy contrived by the conservative Royalist nobles and the clergy. In the meanwhile the Vendéans had continuously been making their efforts to remember the massacres committed by the Republican army during the revolt. In the mid 20th century a large amount of social historical research began to focus on the initiative of the civilians and their spontaneousness during the war and finally there appeared the claims that the rebel was not against the Revolution itself, but against the radical changes the Revolution brought about, therefore an anti-Revolution. Puy du Fou Cinéscénie started in 1978 led by Philippe de Villiers, and it was found as a great success, shedding a new light on the Vendée War and spreading a new understanding of it around the Europe. The first key to success is its location: the old castle where the show was originally held was one of the actual battle sites during the war. The second factor to success is the autonomy and participation of the people in Vendée: volunteers from the local villages prepare Cinéscénie by themselves, and they don’t have any donations from the outside. The third is to use some money earned from the Cinéscénie for human rights activities. The fourth is to make future-oriented message. And the fifth is to combine festivity and culture. For these reasons, the Puy du Fou Cinéscénie is now widely accepted as an alternative commemoration in terms of alarming the tragedy of war, not to mention as a cure for the trauma the Vendéans has suffered from.

Venée War, Puy du Fou Cinéscénie, Counter-Revolution, Anti-Revolution, Memory Conflicts, Alternative Commemoration