《Jiangnanhaoren(江南好人)》made in the course of Yueju(越劇) reform are experimental plays of tradition. Therefore, it may still be hasty to discuss the success or failure of a new theory, focusing on the introduction of a new theory against traditional ideas. In this study, I tried to focus on how ‘defamiliarization Effect’ of Brecht’s Epic was transformed and applied in Yueju(越劇) 《Jiangnanhaoren(江南好 人)》. It is said that while pursuing reform, the existing Yueju(越劇) has remained in the line of strengthening performance in the existing repertoire of materials. The evolution of the Yueju(越劇) epic has been markedly different in the new concept of Yueju(越劇), 《Jiangnanhaoren(江南好人)》. Traditional dramas, which were locked in the framework of the original artist's love and the simple structure of good and evil, were transformed by the content and modern meanings of contemporary and philosophical objects. Chinese visitors were asked to face the Strange Yueju(越劇) epic. This is a reshuffling of Brecht's original work, and it is meaningful that it has expanded the limits of the repertoire of Yueju(越劇) by actively moving Western works to China. I looked at three aspects of 《Jiangnanhaoren(江南好人)》’s strange trial, hangdangjuese(行當角色), stage performance, and Xiqu(戱曲) music. Maoweitao(茅 威濤)do, the first Xiaosheng(小生) in Yueju(越劇), abandoned the familiar “formal type” and created a new way of expressing not only a double role and the gender change of a character but also a expressing way of new Dan(旦). The stage presentation showed modernity and reformability. It can be confirmed that the actors' costumes, dances, and stage settings were drawn from the West and that they created a completely new Yueju(越劇) drama stage by using modern technology. Above all, by adopting Brecht's epic style that awakens audiences through singing and singing, the drama is clearly different from traditional Yueju(越劇) dramas. All of this has been transferred relatively smoothly to the Yueju(越劇) stage with ‘defamiliarization Effect’ effect to secure audience close. Preservation and maintenance are more difficult and therefore valuable, just as history and classic are in itself meaningful, the tradition of classical Xiqu(戱曲) should also be valued. On the other hand, Xiqu(戱曲) must have constant creativity during the evolution process of the play itself, as they are an art of on-site importance with audience. However, not all classical Xiqu(戱曲) are responsible for modernization. Therefore, recognition and understanding of the two directions are necessary. Various criticisms and arguments on the Yueju(越劇) 《Jiangnanhaoren(江南好人)》's attempts to modernize should ultimately be viewed flexibly from this point of view.
Ⅱ. 전제적 고찰-브레히트의 ‘낯설게 하기’와 중국희곡관념
Ⅲ. 《江南好人》월극서사의 ‘낯설게 하기’
Ⅳ. 《江南好人》월극무대의 ‘낯설게 하기’