고려대학교

초록/요약

In this paper, I tried to reconsider the meaning of “Huaju,” which was ideally presented as a direction of modern theater in the 5⋅4 periods, by examining the problems encountered in the process of practice, and to find out that the orientation to enlightening theater that has been working since 5⋅4 is actually ambiguous and vulnerable. In addition, by examining the theatrical review of Maiye, a theater critic who seriously tried to reflect on Shanghai's plays during the occupation period after 1941, I tried to examine the cross section of Shanghai theater criticism during the occupation period. As a city resident living in Shanghai at the time and a theater lover who experienced Shanghai theater in depth, Maiye tried to diagnose Shanghai theater and present accurate theater reviews based on his understanding of the environment and conditions of the city Shanghai. Maiye's review reveals a position that contradicts left-wing theater artists, especially in understanding the ‘commercialization’ of plays and establishing relationships with the public. In addition to diagnosing Shanghai's plays at the time, Maiye's criticism also played a role in promoting “theater” as a product by regularly contributing to publications provided as attractions for Shanghai citizens. Maiye's approach to criticism during the period of occupation is part of an effort to get close to the historical truth of the play that has not yet been restored. From the standpoint of left-wing theatermen outside Shanghai during the occupation period, Shanghai's plays during the occupation period are described as land outside the control controlled by the power of Japan and capital without the control of “right power.” However, through Maiye's review, it can be seen that serious reflection on the city's theater plays was constantly taking place in Shanghai at that time.