3·11 동일본대지진 이후 일본 현대연극의 양상 연구 - <현위치>, <배수의 고도>를 중심으로 -

초록

After the 3·11 Earthquake in eastern Japan, many efforts have been made to analyze trends in “the aftermath of the disaster” in various areas of the country. In the literature, for instance, initiatives have been taken to adopt the term “earthquake disaster literature” to define a new type of creative work. This article, in the flow of this cultural phenomenon, aims to examine new trends in contemporary Japanese theatre. Among the many plays about the 3·11 Earthquake, Okada Toshiki’s Current Location and Nakatsuru Akihito’s Haisui no Koto were introduced to South Korea. The former was performed by the Chelfitsch theatre company, and the latter, as part of the “2014 Dosan Humanities Theater Series,” was directed by Kim Jae-yeop and performed by Korean actors. Both productions premiered soon after the 3·11 Earthquake: the first one in April 2012, and the second in September 2011. Despite being staged so close to the event, both productions can be characterized as drama rather than documentary theatre. When Okada presented Current Location, he mentioned that, unlike his other productions, he sensed the value of classical “fiction” in this play. In addition, after visiting Tohoku Ishinomaki, Nakatsuru reconstructed his experience as a “dramatic” form, not as a documentary form. Each production features different elements in terms of text and style. However, both productions successfully created the necessary distance by introducing the audience to differences between the staged events and the real disaster. In short, these productions demonstrated original structures that pointed to a developing pattern: exemplary productions staging contemporary natural disasters or conflicts.

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