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1

RECEPTION OF SHAKESPEARE'S WORKS IN KOREA. 'ROMEO AND JULIET' BY O T'AE-SOK (Recepcja tworczosci Shakespeare'a w Korei. 'Romeo i Julia' w rezyserii O T'ae-soka)

100%
Rynarzewska E.
Przegląd Orientalistyczny
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2010
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issue 3-4 (234-235)
155-167
EN
The name of Shakespeare appeared in Korea for the first time in January 1919, when Ku Ri-byong published his translation of The Tempest in The Catholic Youth magazine (Kidok Ch'ongnyon). During the next decade, the most significant works of Shakespeare were translated into Korean and published in newspapers and magazines. However, they were rarely staged. Hong Hae-song (1893-1957) was the first to face the challenge and in 1926 he directed The Merchant of Venice. The following years aroused interest in Shakespeare's dramas among Korean directors and Hamlet was the most often presented on the stage. O T'ae-sok (born in 1940) was one of the most outstanding inventors of the modern South-Korean theatre, who decided to show the romantic comedy Romeo and Juliet. O T'ae-sok debuted in 1967 and for more than forty years has constantly been surprising the Korean audience and critics with the variety of his stage ideas, diversity of innovative artistic means and an original technique of acting. Producing Romeo and Juliet for the first time in 1995, O T'ae-sok made a far-reaching adaptation not only in the interpretation of the play, but also in its literary layer. In 2001, O T'ae-sok decided to direct this work one more time. In effect, he created his own version of the play, in which he emphasised the specificity of Korean culture and his own aesthetic preferences. Although he kept the main plot of Shakespeare's work, he seriously reduced the number of dialogues, leaving only fragments of the most important and famous speeches. What is more, he simplified them to such an extent that they became only an echo of the florid style of the original. Additionally, he changed the characteristics of the main characters and their roles in the action. Finally, he used choreography to present numerous metaphors and psychological dilemmas.
2
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Artystyczne założenia tradycyjnego teatru koreańskiego p’ansori w ujęciu Sin Chae-hyo (1812-1884)

100%
Rynarzewska E.
Przegląd Orientalistyczny
|
2019
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issue 3-4(271-272)
275-292
EN
The p’ansori performance represents one of the three main genres of traditional Korean theatre. It was presented by professional singers (kwangdae), who told an epic story taken from shamanic songs, folk stories and classic literature. P’ansori began to develop at the end of the 17th century and over the next two centuries was passed down in the oral tradition. Artistic practice was undermined in the second half of the 19th century by Sin Chae-hyo (1812-1884), who wrote down a few p’ansori and was the first to formulate its theoretical principles. He depicted four basic artistic components of p’ansori, including “acting talent” (nŏ’rŭmsae), “vocal talent” (tŭg’ŭm), “narrative talent” (sasŏl ch’ire) and “presence” (inmul ch’ire). Considered as key components, they were presented in the poetic work by Sin Chae-hyo, entitled Kwangdae ka (Song of the actor, around 1875). The main purpose of this article is to identify and define the components that constitute the artistic essence of p’ansori theatre.
3

KIM U-JIN - THE PRECURSOR OF THE KOREAN EXPRESSIONISM (Kim U-jin - prekursor ekspresjonizmu koreanskiego)

100%
Rynarzewska E.
Przegląd Orientalistyczny
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2008
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issue 3-4 (226-227)
182-205
EN
Kim U-jin (1897-1926), the first professional literary critic in the history of Korean literature, as well as the poet, essayist and dramatist has not been highly valued in the Korean theatre and literary circles for a very long time. His literary achievements were not revealed until the late of 1970s and published in 1983. Korean historians of literature and researchers of the modern Korean theatre immediately noticed and paid special attention to Kim U-jin's original artistic view and varied interests, his extensive knowledge of Western literature and remarkable insight into Western philosophy, as well as the novel literary technique, vivid and distinct especially in his dramatic output that maybe modest in quantity but very unique in comparison with the works of other Korean writers of the 1920s. The artistic view of Kim U-jin formed under the influence of Schopenhauer's metaphysical irrationalism, Nietzsche's relativist theory of value and Bergson's intuitive philosophy of life. Kim U-jin did not limit himself to the literary convention of realism that was gaining some popularity in Korean intellectual circles but very soon became interested in the avant-garde current of German expressionism recognizing its new, limitless options of theatrical and artistic expression. Dealing with social issues, Kim U-jin as the first playwright in the history of Korean literature broke with the conventional style and romantic mode. Instead he included in the content of his plays own reflections and extended them by contemplating the main character's psyche. He also enriched his works with many autobiographical motifs, often presented in an extremely subjective manner.
4
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Udręczona dusza koreańska. Nurt tragicznego niespełnienia Han

100%
Rynarzewska E.
Azja-Pacyfik
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2007
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issue X
154-182
EN
Among various ideological trends that shaped the emotional prototype of the Koreans, the concept of “tragic non-fulfilment han“ is of particular signifi cance. Its Korean notion, with all its nuances, is almost untranslatable in European languages. The term probably originates from Chinese and is believed to have meant ‘aversion’ or ‘irritation’. Step by step its semantic fi eld expanded to denote also: ‘regret’, ‘bitterness’, ‘insult’, ‘sorrow’, and the word itself came to function as one of the most important aesthetic categories, used in reference to Korean art, philosophy and literature. Later, han became a quasi-psychological notion signifying feelings of frustration, bitterness, disappointment and helplessness – emotions accumulated in the result of the prolonged suppression of one’s self, and of renouncing one’s needs and desires. It seems to be rooted in Confucianism, which legitimised the extremely hierarchical and patriarchal Korean state, and justifi ed in practice the discrimination of the weakest members of the society, in particular women. They faced highly demanding obligations, strict Confucian norms, and various restrictions in their social roles. The han experience could also result from the confl ict of values and ethical standards provoked by the syncretic combination of various traditional religious and philosophical systems. Such confl ict could cause an identity crisis manifested through fear, frustration and depression, interpreted as han. Another explanation focuses on the tragic history of Korea, especially of the 20th century. Its dramatic events provoked various fears and deep frustrations. There evolved even the concepts of the ‘national martyrdom’ and of the exceptional, but tragic mission of the Koreans. The enormous economic, technological, and cultural development of the Republic of Korea over the last decades changed mentality of the younger generations that do not understand the han experience and feelings. Hence today han became a symbol of the ancient times and of the Korean past.
5
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Nanjung ilgi („Dziennik wojenny”) Yi Sun-sina (1545–1598): Między historycznym świadectwem a osobistym wyznaniem

100%
Rynarzewska E.
Przegląd Orientalistyczny
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2022
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vol. 1-4 (281-284)
93-110
EN
The main subject of research is the literary work Nanjung ilgi (War journal), the medieval work written by Admiral Yi Sun-sin (1545–1598). It was created during the war with Japan (the imjin war) that lasted from 1592 to 1598. It is widely recognized as one of the most important works of Korean classical documentary literature, as well as the best Korean literary representation of a war diary. In his diary, Yi Sun-sin described the warfare and everyday life in the military camp. The historical value of these records is unquestionable. It elevates Nanjung ilgi to the rank of a cultural archive and one of the most important source of history. On the other hand, in his journal Yi Sun-sin included many records of personal content describing his own feelings, dilemmas and illness. Therefore, Nanjung ilgi seems to go beyond the status of an official description of a historical event and contains elements attributed to personal journals. To prove this assumption is the main subject of this article.
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