셰익스피어 대중문화와 한국의 실제: 2000년대 연극산업을 중심으로
- 셰익스피어 대중문화와 한국의 실제: 2000년대 연극산업을 중심으로
- Other Titles
- Shakespeare and Popular Culture in Korea: Theatre Industry in the New Millennium
- 셰익스피어; 대중문화; 문화연구; 뮤지컬; 교육; 『코믹쇼 로미오&줄리엣』; 『클럽 십이야』; 『뮤지컬 햄릿』; Shakespeare; popular culture; cultural studies; musicals; education; Comic Show Romeo&Juliet; Club Twelfth Night; Musical Hamlet
- Issue Date
- 밀턴과 근세영문학, v.22, no.1, pp.41 - 66
- This essay explores the signification of “popular” Shakespeare in contemporary Korea. After defining the meaning(s) of popular culture, the essay surveys Shakespeare’s cultural history in Britain and America. Shakespeare’s transformation from folk culture to high culture and popular culture suggests that highbrow/ lowbrow culture is not a rigid category. Paradoxically, Shakespeare as popular culture relies on the Bard’s cultural capital accumulated through his non-popularization and canonization as highbrow culture.
Unlike his popularity in the West, Shakespeare’s presence is meager in Korean popular culture. Most Shakespearean theatre productions remain highbrow, even when they attempt to popularize the Bard. Three popular entertainments produced in the 2000s are examined in turn: Comic Show Romeo&Juliet (2008), Club Twelfth Night (2010), and Musical Hamlet (2007). These productions suggest that Shakespeare exists only in name(and thus virtually absent) or is elevated to the middlebrow taste. Genuine popularity presupposes appreciation. Popular Shakespeare in a positive sense, of being widely liked or originating from the people, seems inconceivable in current Korean culture, where Shakespeare is known only superficially as chunk of world classics.
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