마당극 <땅풀이>와 호주 원주민극 <브랜 누 대>의 탈식민성 고찰

A Comparative Study of <Ttangpuri> and <Bran Nue Dae>

This article is a comparative study of Korean Madang-geuk (Yard drama) <Ttangpuri> (by Hwang Seok-yeong, 1980) and Australian Aboriginal drama <Bran Nue Dae>(by Jimmy Chi and Kuckles, 1991). This research is conducted from the viewpoint of post-colonialism, analysing how to react actively against the invasion of foreign conqueror and the domestic inequalities and injustice. Madang-geuk and Aboriginal Drama took place at each different place and situation. They are not each interchange and solidarity. But, <Ttangpuri> and <Bran Nue Dae> are each individuality, as well as which are common feature. Korean citizens had been oppressed by dictators, and at them same time, super powers such as USA and Japan had advanced to affect South Korea by supporting the Korean despotic regimes and taking their economic profits in the 1970s-1980s. At that time, <Ttangpuri>, which began to stage in the form of Madang-geuk, participated in the active resistance of such various forms of oppression. In the Australia, the movement and struggle for Aboriginal land rights took place 1966, which rear in the 1970s-1980s. <Bran Nue Dae>’s narrative focus on the Aboriginal search for a physical and spiritual homeland highlights a common concern of indigenous peoples uprooted by colonial settlement. The Aboriginal quest for cultural renewal is inevitably linked to a demand for land rights. <Ttangpuri> and <Bran Nue Dae> is an active resistant play which resists neo-colonialism, in the consideration of the specific nature of the third world. In this plays, the writers points out that the indigenous people in Jeju-do(island) and homeland are uprooted by losing their land to the outsider capitalists, which was the source of their survival and is attached to their identity. In <Ttangpuri>, although Hwang Seok-yeong acknowledges the cultural hybridity accelerated by Westernization, he takes an ambivalent attitude, by resisting and overcoming the dependency which is embedded in the people. And Aboriginal playwriter Jimmy Chi search for identity of aborigines by hybridity and overcoming self-disrupion in <Bran Nue Dae>.