The purpose of this study is to shed light on Shakespeare's Hamlet has been accepted on the Korean stage. In the stage history of Hamlet in Korea the 1990s is the time the play was vigorously adapted in the Korean style. In this study I am going to make preliminary examination of the two performance of Hamlet, The Problematic Man, and the so-called Hamlet in Cheonmachong (a tomb with a painting with a flying horse) which are the two examples of Koreanized Hamlet. Both of the works were directed by Yoontaek Lee.
The Problematic Man, Yeonsan is an adaptation of Hamlet in three respects. First, this is convinced by the fact that the dramatis personae of The Problematic Man, Yeonsan corresponds to those of Hamlet.
The Problematic Man, Yeonsan shows the oedipus complex in a different way from that of Hamlet. Unlike Hamlet, Yeonsan misses his mother who was tragically dethroned and executed. This suppressed love of the mother along with his inferiority complex triggers revenge on those who are involved in the death of the queen. Yoontaek Lee also employs Korean performing arts such as dancing and music to deliver the play.
Hamlet in Cheonmachong performed in 1996 by Yoontaek Lee keeps much of the play intact. The producer's attempt at Koreanization is seen in several scenes rather than in plot or story. While Hamlet meets his father's ghost, Hamlet is visited by the ghost in Hamlet in Cheonmachong. The Koreanized play starts with p'ansori (a traditional Korean narrative song) in Act 5 Scene 1. This song, a dirge sung by the pallbearers, communicates the subject of death.
In conclusion Yoontaek Lee attempts the Koreanization of Hamlet in two ways. First, he adapts Hamlet to Korean narrative with the indigenous setting and dramatis personae. This can be called the Koreanization of the content. Second, the Koreanization of Hamlet is made in terms of delivery. The play is addressed by Korean music and dance. This aspect is called the Koreanization of the form.
