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Rola Hong Hae-sŏnga w narodzinach współczesnej reżyserii koreańskiej

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Rynarzewska E.

Przegląd Orientalistyczny

2012

issue 3-4(243-244)

180-198

This article focuses on the process of the development of modern Korean direction art. The concept of stage managing itself was adopted in Korea in the third decade of the 20th century as a result of artistic influence of Japanese and Western theatres, as well as a result of complex social and cultural changes. In pre-modern Korea, there was no theatre director. Performances were prepared collectively and the decision rested with the oldest and most experienced actor. In the beginning of the 20th century, the function of stage manager was taken over by directors of the first Korean theatres. They played a very important role in inspiring artist-singers and thus supporting the process of developing new theatrical form, called ch’ang-gŭk or the Korean classical opera. But since they lacked for artistic skills and theatrical competence, their role was limited to coordinating and administrative function. Most of the shinp’a or “new school” theatrical groups that started their artistic activity at the beginning of the second decade of the 20th century, were applying the “star system” and the function of the stage manager was taken over by the head of the shinp’a group, called tanjang, who was in charge of all the artistic and non-artistic issues. The concept of theatre director was developed by the amateur student theatre groups, called soin-gŭk, in the third decade but it was not untill 1931 that such function was officially established in the Institute of Theatre Art or Kŭg’yesul Yŏn’gu-hoe and developed by Hong Hae-sŏng (1894–1957), who has been acknowledged as the first Korean theatre director.