• Journal of Korean Theatre Studies Association
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• no.48
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• pp.127-170
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• 2012

The primary concerns of this thesis simply stems from the curiosity of how the playwright Kim Jihoon lookouts a peculiar change of our spiritual, physical world. His lately work, , deals with a tribe of mixed blood who are either not shared by, or excluded from a national system, putting the writer's emphasis on some hints that informs us his outlook on the world. And these hints summon the following doubts. What is the significance of constituting a national community in this age, particularly in the time when the end of national people is frequently being referred? In strengthening national compositions, can the national identity be a pivotal element and central mechanism? Can the identity be able to exercise the hegemonic functions containing the political rights of decisions? Does the identity still dominate the various collective bodies such as genders, races, regions, professions, generations and classes etc? Finally, as the manifests, can the national identity be a desirable alternative that may cease both confusions and disorders evoked by the collision of heterogeneity? To find the answer, the study starts from a search for the origin of the complexities immanent in the mixed blood. The terror syndrome and the ambiguous identity, both residing outside the border of normality, will characterise the origin. Then I will focus both on the tribe's desperation itself and their present hope, in order. A myth of creating a country, making history and nationalism, all these are converged in their resistant ideology. This thesis ends with no clear conclusion, and yet suggesting the three presumptions the text insinuates: nomadism, a new barbarism, and the heterogeneity that awaits for our re-reading, and hoping that the three will lead the 'being-to-come' of the tribe, as an alternative of their future.