투르게네프 소설 그 전날 밤의 극화와 문학장(文學場)의 복수성(複數性) : 구스야마 마사오의 脚本 その前夜(1915)와 아르부조프의 Накануне(1948)를 중심으로 (A Dramatization of Turgenev’s Novel On the Eve and Plurality of Literary Field - With Focus on Kusuyama Masao’s Kyakuhon Sono Zenya (1915) and A. N. Arbuzov’s Nakanune (1948) -)

서지정보

· 발행기관 : 한국동서비교문학학회
· 수록지 정보 : 동서비교문학저널 / 35호 / 49 ~ 95페이지
· 저자명 : 손성준, 한지형

초록

This paper is intended to analyze the aspects in which Turgenev’s novel On the Eve (Накануне, 1860) is dramatized as a scenario for plays by two of the playwrights in Japan and Russia. More specifically, this paper compares Japanese playwright Kusuyama Masao (楠山正雄)’s Kyakuhon Sono Zenya (脚本 その前夜, 1915) and Russian playwright A.N. Arbuzov (А.Н. Арбузов)’s scenario Nakanune (Накануне, 1948) with their original works and then reviews the differences between the above two dramatization focusing on the characters.
Kusuyama Masao of Geizyutsuza (藝術座), which was the epicenter of “New Drama Movement” of Japan in the Taishō Period (大正時代), dramatized On the Eve following the suggestions of Soma Gyofu (相馬御風) who was his colleague and a professional translator of Turgenev. The way in which Kusuyama Masao dramatized was to beautify the love story with Insarov resolutely as well as give prominence to Elena as a modern woman who fulfilled the idea of free love and challenged the patriarchical authority. In doing so, the role of Insarov was extended further than that of Insarov in its original work. The background for this dramatization on the one hand is that there are the critical mind and dramatization experience in A Doll’s House (Et dukkehjem) and Resurrection (Воскресение) that led New Drama Movement of Japan at that time. On the other hand, Soviet Russia’s playwright A. N. Arbuzov shows a balanced perspective between his practice as a writer and the requirement of times in the contemporary literary field which was bound by the dogmatized Socialist Realism. The core of his dramatization is that he granted such powerful a revolutionary leader to Insarov and added a determined volition for revolutionary tasks to Elena’s will while respecting the authority of original author by utilizing other texts. The dramatization of Kusuyama Masao and A. N. Arbuzov have something in common in that they both enhance the status of Insarov, as a result of reinterpretation of critical mind of original work in the literary field in their own countries bearing in mind their own contexts.

영어초록

This paper is intended to analyze the aspects in which Turgenev’s novel On the Eve (Накануне, 1860) is dramatized as a scenario for plays by two of the playwrights in Japan and Russia. More specifically, this paper compares Japanese playwright Kusuyama Masao (楠山正雄)’s Kyakuhon Sono Zenya (脚本 その前夜, 1915) and Russian playwright A.N. Arbuzov (А.Н. Арбузов)’s scenario Nakanune (Накануне, 1948) with their original works and then reviews the differences between the above two dramatization focusing on the characters.
Kusuyama Masao of Geizyutsuza (藝術座), which was the epicenter of “New Drama Movement” of Japan in the Taishō Period (大正時代), dramatized On the Eve following the suggestions of Soma Gyofu (相馬御風) who was his colleague and a professional translator of Turgenev. The way in which Kusuyama Masao dramatized was to beautify the love story with Insarov resolutely as well as give prominence to Elena as a modern woman who fulfilled the idea of free love and challenged the patriarchical authority. In doing so, the role of Insarov was extended further than that of Insarov in its original work. The background for this dramatization on the one hand is that there are the critical mind and dramatization experience in A Doll’s House (Et dukkehjem) and Resurrection (Воскресение) that led New Drama Movement of Japan at that time. On the other hand, Soviet Russia’s playwright A. N. Arbuzov shows a balanced perspective between his practice as a writer and the requirement of times in the contemporary literary field which was bound by the dogmatized Socialist Realism. The core of his dramatization is that he granted such powerful a revolutionary leader to Insarov and added a determined volition for revolutionary tasks to Elena’s will while respecting the authority of original author by utilizing other texts. The dramatization of Kusuyama Masao and A. N. Arbuzov have something in common in that they both enhance the status of Insarov, as a result of reinterpretation of critical mind of original work in the literary field in their own countries bearing in mind their own contexts.

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