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영어

In the 1930s, both modern plays and dramas with western notion really began and developed. It might be much more ahead of this period when looking for the influx of western modern plays or the spiritual beginning of the western plays, but it was the 30s using new play as a terminology meaning the western modern play and presenting the realism play on stage in earnest which can be recognized as a western modern play. The aspect of plays that time could be divided in three parts and they are the new-play (experimental play, realism play), tendency-play(proletariat-play), and popular-play(common play, new-school play). Among those three courses the realism play accepted the realism newly appeared in the 1930s as a modern realism play. The appearance of this realism play has a great symbolic meaning that the westernized and modernized plays and dramas took their real first step. YOO Chi Jin and HAm Se duk decidedly are the main realism play writers in the 1930s, the time of such signification. YOO Chi Jin described the real circumstances and the structural contradiction of our rural life of the colonial times in his creation play and played the role of a precursor who established the realism play of the early and mid 1930s. And based upon YOO Chi Jin's establishment in realism plays, HAM Se Duk with his excellent writing skill succeeded to create psychological and lively colloquial lines and characteristic persons in a very lyrical and romantic mood and so he is valued to have upgraded the realism play through the accomplishment of the 'poetic realism' or 'lyrical realism'. KIm Jong Chul gave an appraisal of the 30s' result mentioning that 'Korean poetry does not passed the limit of the basic outline set up in the 30s'. Not much different with plays and dramas. Up until now, it's been easily said that there is no perfect realism play in our dramas, which will mean that Korean plays and dramas experienced a dialectical development to overcome and inherit the realism set up in the 1930s. Therefore in this article the introduction and current of realism play will be examined and also the achievement and limitation of the realism writings accomplished by YOO Chin Jin and HAm Se Duk will be illuminate through their masterpiece Bul> and Little Monk.