호네트의 ‘인정투쟁’을 통해 바라본 국내 노동연극 - 민주화 시기와 신자유주의 시기를 중심으로-

초록

Since 2010, the Korean theater scene has seen a surge in theater interest in labor alongside the interest in political theater. Labor theater in the 20th century refers to performances in which the worker is the subject, and the place, content, and audience are workers.In addition, the concept of "worker" at that time was interpreted as a narrow sense of worker, referring to manufacturing labor and new commercial workers. However, since the 2010s, labor theater has expanded its scope. First of all, the concept of 'worker' is not just limited to production and manufacturing, but needs to be expanded to various areas such as white-collar labor, migrant labor, and emotional labor. This broadening of the concept of "worker" has expanded the understanding and scope of labor activity and produced plays about more diverse labor issues. This paper compares and examines labor theater in the era of democratization and labor theater in the era of neoliberalism, focusing on Axel Honneth's theory of recognition. This paper is organized as follows. First, in 'Chapter 2, Theoretical Background', I will discuss the concept of worker and labor theater expanded through 'The Flow and Expansion of Domestic Labor Theater' and 'Hornet's Struggle for Recognition and the Transformation of Workers'. Next, in 'Chapter 3, Labor Plays through Hornet's 'Recognition Struggle'', I will analyze labor plays in the democratization period and labor plays in the neoliberal period through Hornet's 'Recognition Struggle' and derive the modes of recognition of workers in labor plays.

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