¡®??-??¡¯? ??? ? ???? : ??? ?????? ?? (Korean Cultural Alteration Based on the Dissolution of Sin-pa Play : Transition into the Postcolonial-Cold War Culture)

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After the Korean War, the scale of the theatrical circles was very small, and this depopulation involved not only the left-wing drama but also the Sinpa play. The absence of the Sinpa play, which has dominated the market for many years, can not be taken for granted. This change was because it was a symptom that transcended the problems inside the theatrical circles, that is, the transition from colonial culture to cold war culture. The purpose of this study is to trace the process of liberation eight years and to confirm the coordinates of the Sinpa in the post-war cultural vortex. This can be divided into three stages. The first is an initial situation that emerged shortly after the liberation, that is, the prosperity or fashion of the Sinpa. The story of oppressed women was still competitive. This continuity emphasizes that the life of women who has not yet been liberated, even though liberated, is still a ¡®Sinpa¡¯. What is different from the previous one is that the sense of the subjugated-weak, which have been implied in the origin of the Sinpa, was divided, and the space of ethnic interpretation in the Sinpa play has been greatly reduced. The radius of gendered Sinpa was narrowed further. This can be said to be a crude ¡®theatrical politics¡¯ of the average life of patriarchal women alienated from the politics of the streets. The second is the political process in which the cold ordering that started right after liberation is combined with nationalism. The pressure of the cold war nationalism¨Dthe Sinpa actors¡¯s the defection to North Korea, the mobilized politics began just before establishing single government, and the Korean War¨Dwas the decisive cause of the disappearance of the Sinpa play. The political process of the eight years of liberation was even more lethal in the Sinpa play, which lacked all of it, if we recall the pre-liberation situation in which the Sinpa¡¯s imagination had ¡®nation¡¯ but no ¡®state¡¯. The third, nevertheless, is the post-war cultural dynamics of the Sinpa¡¯s appeal. It is true that the Sinpa-akgeuk of the period before and after the Korean War and the cinema of the late 1950s gained popular popularity. However, it was close to the afterglow of the decline of contemporary values. The Sinpa was no longer the ¡®present¡¯ of the audience, but ¡®past¡¯ or ¡®colonial¡¯. The evidence would be the fall of the Sinpa/history play performance group(following the disappearance of tha Sinpa play), the rebellion of ¡®the girls who became prince¡¯ and ¡®madame freedom¡¯. If so, can we say that the Sinpa has vanished completely? It can be said that the Sinpa originated from the colonial period was completed. However, it should be added that the cold war nationalism of eight years of liberation and the post-war cultural vortex created a fault that differentiates between before and after, and that another version of the Sinpa was prepared from there. The Sinpa at this time may be understood as a reservoir of Cold War culture, as colonial culture did.