러시아 혁명 후 보드빌의 발전과 논쟁

• 발행기관: 고려대학교 러시아 CIS연구소
• 저자명: 백용식
• 간행물 정보: 『Acta Russiana』제8호, 25~48쪽, 전체 24쪽
• 주제분류: 인문학 > 기타인문학
• 파일형태: PDF
• 발행일자: 2016.06.30

영문 초록

Vaudeville is a synthetic genre where the comic intrigue is combined with music, dances and songs; Its goal is to offer spectators entertainment. In the first half of the 19th century the vaudeville, which was the most popular genre in the Russian theater, had lost the dominant position in the drama of Russia since the mid-19th century. However, the Vaudeville buried in oblivion returned on the Soviet stage during the early 1920s. The Changes of Culture and theatre situation through the New Economic Policy have formed favorable conditions for regeneration and development of Soviet vaudeville, although the contemporary critics who expressed the position of RAPP, took a critical and negative viewpoint on the Soviet vaudeville. In this period, the debate on the theory of comedy and vaudeville was generated lively. V. Volken'stein influenced by Bergson took a view that the aim of vaudeville is laughter and the destruction of norm is the key issues in case of triggering laugh reflex; on the other hand Mikulášek accused the vaudeville of the ambiguous describing of the realities. The success of the original vaudevilles of V. Shkvarkin and V. Kataev, including the anthology , may be considered as an evidence of the regeneration of russian vaudeville. Soviet vaudeville was distinguished from Russian classical vaudeville in its components: theme, person, language and form. The number of the couplet was reduced and the coupletless vaudeville was also found. Whereas, music, singing and dancing were elements that demonstrate the synthetic nature of the genre. In addition to the traditional orchestral instruments, new media such as radio, phonograph, tape recorders were employed. Despite the controversial evaluations of critics, audience was beneficiaries of the first Soviet vaudeville; writer and theatre enjoyed the success to the full. Contemporary critics were dissatisfied with the intention of the producer, the expectations of the audience and the effect of performance, whereas the soviet vaudeville offered a big smile.

키워드

보드빌 웃음 풍자 문학정책 볼켄쉬테인 Vaudeville Laugh Satire Literature Politic Volkenshtein