韩国场院剧的文化政治特质探析

Analysis of the Cultural and Political Characteristics of Korean Madang-geuk

在20世纪七八十年代,继承韩国传统民俗演戏的形式和精神、与现实事件紧密关联的场院剧不啻为韩国民众表达政治诉求的戏剧武器。但在多学科理论交叉的视阈下,场院剧被视作特定群体与威权对抗而产生的话语,其传达的并非是民众的声音,这消解了场院剧的真实性。此表述如同“建构与解构”的逻辑游戏,难免将场院剧拘囿为政治论争的脚注。而若将视点集中在场院剧本体,“戏剧”和“话语”并不互斥,这意味着场院剧提供的是来自韩国的戏剧样式和美学思考,并指向了在当下确立自我文化身份的实用性话语策略。

In the 1970s and 1980s,the Madang-geuk,inheriting the traditional folk performance(Yeon-hui)forms and spirits of South Korea,closely intertwined with real-life events,served as a powerful theatrical weapon for the Korean people(Minjung)to express their political aspirations.However,from the perspective of interdisciplinary theories,Madang-geuk is seen as a discourse generated by specific groups confronting authoritarianism,rather than conveying the voice of the people,which undermines the authenticity of Madang-geuk.This representation resembles a logical game of“construction and deconstruction”,inevitably constraining Madang-geuk as a footnote to political debates.However,if the focus is shifted to the essence of Madang-geuk,“drama”and“discourse”are not mutually exclusive,implying that Madang-geuk provides a theatrical style and aesthetic contemplation unique to Korea,and points towards a pragmatic discourse strategy for establishing self-cultural identity in the present context.