식민지조선에서 이루어진 외국극 공연이 남긴 흔적(traces)을 통하여 해당 공연의 구체적 상황을 재구하고, 공연의 연극사적 의미를 찾아가는 것이 고고학적 비교 연극 연구의 목적이다. 고고학적 비교 연극 연구는 크게 세 부분으로 수행된다. 첫째는 원작에 대한 연구, 둘째는 작품 유입 과정에 대한 연구, 셋째는 식민지조선 근대극에 미친 영향에 대한 연구이다.
선행 단계에서 얻어진 결과는 식민지조선 근대극에 미친 영향에 대한 연구에 활용된다. 토월회는 남성 중심의 전근대적 인식이 지배적인 게이쥬츠자의 연극 <카르멘>을 수용하면서, 경국지색의 여성에 대한 경계를 담은 작품으로 해석하였다. 그로 인하여, 토월회 공연에서는 돈 호세와 카르멘이 선과 악의 구도 속에 놓이게 되어 남성 중심의 전근대적 인식이 더 강화되었다. 1926년 공연에서는 가수인 윤심덕을 위하여 게이쥬츠자의 게키츄카를 적극 활용하였고, 결국 토월회의 독자적 해석이 거의 없는 일본 공연의 종속적 작품이 되고 말았다. 토월회의 연극 <카르멘>이 지닌 강력한 전근대성과 통속성은 사회적 반발을 불러일으켰고, 윤심덕 및 핵심 인물들의 탈퇴로 이어졌다. 그것이 제3기 토월회 임시 해산의 중요한 원인으로 작용한 것이다.The aim of this study is to introduce 'the Archaeological comparative theater study' and to present its practical use through the study of Towolhoe's Carmen. It is the most difficult problem in studying the modern theatre in colonial Korea that the scripts of foreign theatres is not left. In this situation, the Archaeological comparative theater study is groped as the way to solve this problem when it is impossible to study the direct comparison between them.
It is the object of the archaeological comparative theater study to reconstruct the concrete situation of the performance by means of its trace which the foreign theatre performance left in the colonial Korea and to find its theatrical meanings. This study is carried out in three parts; study on the original work, the study on the inflow process of the work, and the study on its influence on modern drama in colonial Korea.
Towolhoe performed the theatre, Carmen twice in 1924 and once in 1926. Because the performance of 1926 in which Yun Simdeok appeared as Carmen had something to do with third period Towolhoe's temporary dissolution, it has an important meaning in the history of modern drama in colonial Korea. It was considered impossible to study the theatre, Carmen, since the script used in the performance of Towolhoe was not left.
Through the study on the original work, I confirm that Carmen in opera is a dignified and honest woman who wants to live her life. The opera, Carmen that had come into Japan was adapted into Geijyutuza's theatre through Asakusa opera. In this process, it was changed as the story of a man character, Don José under the influence of Japanese love-suicide drama. Owing to it, Carmen came to have the strong image of a wicked woman who makes a whim between money and love. Such results are confirmed through the study on its inflow process.
The results are utilized in the study on the influence on modern drama in colonial Korea. Towolhoe accepted Geijyutuza's theatre, Carmen which had pre-modern perception of male-dominated and translated this work as the warning to a woman who was beautiful enough to the downfall of a country. Don José and Carmen was placed in a composition of good and evil and the pre-modern perception of male-dominated was more strengthened. In the performance of 1926, the songs used in the performance of Geijyutuza's theatre was inserted for Yun Simdeok, which made this performance the dependent work of Japanese performance with little their own interpretation. Its pre-modernity and inherent vulgarity caused Yun Simdeok's repulsion and worked as the causes of main members' withdrawal and the third Towolhoe's temporary dissolution.