This essay is a premise to study the mutual relations of state power and literary power. It pays an attention to a concrete example that is the head stream period of socialist China. State power is how to intervene in various positions which have effects on formation and movement of literary power deals with how to control literary power. These are the purpose of this paper. And the result of this, will be a foundation stone that studying concrete demands of state power in that period, and repulsion or cooperation of literary power against such demands. Other wise, it has to study artist's concrete reaction which respond to the power, or be pitted against to that. It is focused on ‘The Great Culture Revolution of Proletariat’ which shows us the extreme aspect of socialist state power. Within this period, to be the purpose of this study is how literary power is made and how state power intervenes with it. It also focused on setting up and practicing literary policy, and focused on features of literary theory and ‘model play’, ‘model cinema’ (how to realized creation) as their basis. In other words, why did the state power paid attention to public performance arts? It is studied that doctrinaire literary power is applied in public performance arts; the ultimate purpose of state power make a pressing restraint and internalization to literary power; the opposition or dependence against to state power of literary power and so on. As a result of the continuous intension of socialist state literary power was subordinated to state power in China, and the phenomenon at that ‘Culture Revolution’ period is the only ‘model play’ and ‘model cinema’ as the public performance arts. These phenomena showed us the extreme left errors which the state power colored to literary creation, and the historical experience that literary creation factually faded away.

This essay is a premise to study the mutual relations of state power and literary power. It pays an attention to a concrete example that is the head stream period of socialist China. State power is how to intervene in various positions which have effects on formation and movement of literary power deals with how to control literary power. These are the purpose of this paper. And the result of this, will be a foundation stone that studying concrete demands of state power in that period, and repulsion or cooperation of literary power against such demands. Other wise, it has to study artist's concrete reaction which respond to the power, or be pitted against to that. It is focused on ‘The Great Culture Revolution of Proletariat’ which shows us the extreme aspect of socialist state power. Within this period, to be the purpose of this study is how literary power is made and how state power intervenes with it. It also focused on setting up and practicing literary policy, and focused on features of literary theory and ‘model play’, ‘model cinema’ (how to realized creation) as their basis. In other words, why did the state power paid attention to public performance arts? It is studied that doctrinaire literary power is applied in public performance arts; the ultimate purpose of state power make a pressing restraint and internalization to literary power; the opposition or dependence against to state power of literary power and so on. As a result of the continuous intension of socialist state literary power was subordinated to state power in China, and the phenomenon at that ‘Culture Revolution’ period is the only ‘model play’ and ‘model cinema’ as the public performance arts. These phenomena showed us the extreme left errors which the state power colored to literary creation, and the historical experience that literary creation factually faded away.

국가권력/ 문학권력/ 문화대혁명/ 모범극/ 모범영화