• The Korean Publising Journal, Monthly
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• s.157
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• pp.2-3
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• 1994

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.73-82
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• 2019

The satirical content of the absurd play, centered on Lee Keun-sam's play, represents the family image of a modern capitalist society where only duty is emphasized while the characters are lost in love with the family. They show humans becoming subordinate to economic logic as traditional relationships and family relationships change into material ones due to the rapid development of the economy. The narrator expresses the roles of the performer and the narrator together. It also presents the plot as a characteristic element of epic and absurd dramas, and directs actors as directors. It also foretells the events that will take place in the future, presents the inner consciousness of the characters in the play, and reduces and expands events and times. In terms of conflict, in order to fulfill the financial responsibility of their children, the professor translates them like a machine and the wife distributes the money they earn as they demand. The middle-aged professor and his wife are not willing to make a difference in the real world, so specific conflicts are not revealed. Therefore, no concrete conflict appears within this work. The plot of consisted of 22 epicentre compartments, consisting of a time frame from evening to the next morning. And no special events happen and show only one family's daily life. In addition, materials that show simple repetition of daily life such as newspapers, rice, birthdays, etc. are effectively showing the character of absurdity through repeated structure. The linguistic features of the absurd play focus on expressing anxiety, despair, fantasy and the sense of loss that the object's purpose has disappeared. The stage system avoids detailed portrayals of naturalist plays and creates a thoroughly simplified image that the theme of the play demands, which shows that the stage unit is also an important element that characterizes the absurdity of reflexes.

• (The) Research of the performance art and culture
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• no.42
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• pp.23-45
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• 2021

In the 1980's, Lee Geun-sam wrote critiques that analyzed North Korea's performing arts and ideology. In the critiques, he posits the following characteristics of North Korea's performing arts. First, the works are designed in such a way to befit the purpose of the authorities' policy. Second, the works embrace political ideology whose purpose concerns class struggle. During the critique process, Lee Geun-sam compares the "freedom" of the performing arts activities in South Korea and the "regulatory" aspect of North Korea's performing arts activities and reveals implicitly the superiority of South Korea's system. In addition, Lee Geun-sam criticizes the political ideology of North Korea's performing arts and objects to viewing the concept of ideology from a Marxist viewpoint. According to Lee Geun-sam, an ideology is explained as an idea system representing an artist's conscious/unconscious worldview. Also, he contends that arts should distance itself from political ideology.