초록 열기/닫기 버튼
손필영, 2019, 노작 홍사용 시와 희곡에 나타난 메나리적 요소와 상관성, 184 : 197~222 홍사용의 희곡에서 메나리적 요소를 발견하는 것은 우연한 일이 아니다. 그가 1919년부터 쓴 시조집 『청구가곡』에서 추구한 운율과 앎과 삶을 일치하려는 조선정신은 <백조>에 발표한 현대시에도 의미와 분리되지 않는 리듬과 이미지로 나타난다. 이러한 메나리 정신은 그의 <토월회> 운영 관여와 공연 활동과 연계되어 나타났다. 특히 극단 <산유화회> 창단과 극 창작 및 연출은 그의 정신을 실천적으로 드러냈다고 할 수 있다. 공연된 「향토심」은 이러한 특징을 담아냈고 희곡 「할미꽃」이나 「제석」도 메나리적 요소로 구성되어 설화적 요소와 리듬과 아이러니적 이미지를 혼용하였다. 원본 없이 줄거리만 전하는 「벙어리굿」도 제목부터 메나리적 특징을 담았음을 드러낸다. 그의 메나리의식에서 연유된 조선적 리듬과 결합된 정조는 후에 민요시에까지 일관되게 실천되었다. 그가 선택한 자유시와 민요시는 당시 우리문단의 서구적인 경향과는 달리 전통시의 맥락에서 창작되었고 그의 메나리정조로 이루어진 희곡작품은 불행한 시대를 사는 인간에게서 시대나 이념에 함몰되지 않는 조선심의 기품을 볼 수 있게 하였다.
It is not a coincidence to find the elements of Menari’s style in the Hong Sa Young’s plays. The Confucian Chosun spirit, the concord of rhythm, knowledge and life, which he pursued in <Cheong Goo Ga Gok>, a traditional three-verse Korean poem that he has written since 1919, reveals the rhythm and image reflected in the modern poetry seen after the <Baek Jo>. This Menari spirit is linked with his participation of <Toweol-hwe> operation and performance activities. In particular, his foundation of <Sanyoohwa-hwe>, along with his writing and directing revealed his spirit practically. <Hyang To Shim> captures these characteristics, while the play <Hal Mi Kkot> or <Je Seok> also consist of menaristic elements and consist of poetical irony, mixed with the use of silent scream, narrative elements and rhythm of tale and ironic images. <Beong Uh Ri Gut>, which contains Menari’s element and conveys only the story-line, reveals its Menari characteristic from the title itself. <Heen Jeot> especially, where the story is based on the ‘Lee Cha Don’s death’ , symbolically shaped his spiritual value, interlocked with the period of the era. His fidelity combined with Chosunistic rhythm, which derived from the Menari spirit, was consistently practiced to his folk song poetry later on. Hong created his free verse poetry and folk song poetry from the context of traditional poetry, contrary to the majority of our literary circles during that period, which contained Western tendency. More notably, he linked folk songs and Chosun spirit to the creation of drama and theatrical activities despite living under the colonial in post mid 1920s. The attitude to find the national spirit and cultivate personality was practiced through his play. The play piece composed of the poetic image of Menari makes it possible to see the grace of Chosunism that does not fall into the times or ideologies of human beings living in the unfortunate times, and further provides an opportunity to find the possibility of connecting the modern drama with the traditional drama. Writing a poem during the Japanese colonial era means treading a path as a Chosun’s poet, which can be seen as realization of self-talent from the tradition like the Eliot once said.
키워드열기/닫기 버튼
Menari, Rhythm, Free-verse poetry, Folk song poetry, Chosunsim, Sanyoohaw-hwe
