아서 코핏의 Indians:멜로드라마화된 미국 역사 다시 쓰기

황규철 한국현대영미드라마학회 2003 현대영미드라마 Vol.16 No.3

This paper is to explore how Arthur Kopit bitterly criticizesmelodrama nd the melodramatized American history in hisIndians.Acording to Kopit, the American history has ben fabricated anddistorted by the American white males. Furthermore, the American whitemales’ historical view is closely related to the characteristics ofmelodrama. InIndians, Kopit mocks and rejects the melodramaticcharacteristics by adopting anachronistic structure and anti-realistictechniques, presenting the protagonist far from the melodramaticcharacterization and using play-within-the-play.The structure ofIndians is composed of the anachronistically arranged13 Scenes except he last 4 scenes. The purpose of this tructure is tocreate a sense of disorientation in the audience and rethink about heVietnam War in the context of American history. Also, Kopit frely usesthe anti-realistic techniques, such as epic theater techniques, surealism,theatricalism and expressionism to prevent he audience from beingimersed in dramatic fantasy.The protagonist, William Cody, becomes Bufalo Bill by ‘the magicpen’ of Ned Buntline and establishes his image as a national hero in hisWild West Show. However, he proves himself as a man of split identity,thus far from the melodramatic hero.The Scouts of the Plains, a melodrama nd a play-within-the-play of251 아서 코핏의 Indians: 멜 로 드 라 마 화 된 미 국 역 사 다 시 쓰 기

To Damascus Plays: A Search for Salvation

송옥 한국현대영미드라마학회 2003 현대영미드라마 Vol.16 No.1

입센과 더불어 현대드라미의 아버지로 불리는 스트린드베리히가 20세기 서구 드라마에 끼친 영향은 누구도 부인할 수 없다. 현대드라마에 끼친 그의 가장 큰 공헌은 인간 심리속의 비이성적 또는 무의식적 요소들을 연극형태로 변화 시키어 연극 수단으로 이를 직접적으로 재현한 점이다. 「다마스쿠스로 가는 길」은 소위 표현주의 연극의 시조로 볼 수 있으며, 꿈의 형태에 가까운 자유스런 형식의 이 상징극은 20세기 연극의 방향을 바꾼 중요한 작품이다. 자연주의 극작가로 스트린드베리히의 명성이 국제적으로 알려질 즈음 그는 그의 인생에서 최악의 시기인 소위 ‘Inferno Crisis’에 들어서게된다. 심한 정서불안 가운데 여인에 대한 증오와 공포, 악마, 초자연적 마술과 혼합된 과학에 대한 열정, 모든 사물의 근원을 캐고 싶어하는 욕망, 연금술 실험, 접신론 등 그가 보여 준 광적인 집착과 다양한 실험정신은 지칠줄을 몰랐다. Inferno 시기가 지나고 다시 무대를 위해 쓴 그의 첫 작품은 상징성이 강한「다마스쿠스로 가는 길」이다. 20세기의 체험을 대변하듯, 스트린드베리히의 작품 전체에 베어 있는 인생의 허무감과 무서운 고독감이 「다마스쿠스로 가는 길」에 깊이 깔려있다. 자연주의 극에서 상징주의극으로 옮아가는 일련의 그의 극들은 종교적 신앙에서 구원을 찾고자한 그의 심리적 관심을 표출한 것이다. 다마스쿠스로 가는 도중 하나님의 부르심을 받은 바울처럼 스트린드베리히도 그의 체험을 종교적으로 풀이하고 싶어했다. 이 엣세이는 구원을 목마르게 찾아다니는 작중 인물의 고난 과정과 작가 스트린드베리히의 고통스런 인생 체험의 일치를 다루고있다. 삶의 고통에서 해방하여 구원을 얻고 싶어하는 작가의 끊임없는 갈망을 주인공 이방인(the Stranger)의 여정을 통해 살피고 있다. 「다마스쿠스로 가는 길」에서 스트린드베리히는 특히 주인공의 영혼의 내면을 들추어 개인의 감추어진 동기와 공포를 탐색하고 있다. 원초적인 힘을 통해 꿈과 악몽의 세계를 창조하면서 사실주의 형식을 완전히 벗어나서 표현주의 형식으로 20세기를 특징짓는 우울하고 불건전한 병적인 절망을 처음으로 명확하게 표현해주고 있다. 작가의 아버지가 보여 주었던 무관심, 어머니의 죽음, 어려웠던 학교생활, 작가로서의 좌절감, 불행한 결혼, 경제적 궁핍 등의 비관적 삶이 이 극 속에 그대로 반영되고 있다. 이중성이 강하게 드러나 있는 이 극은 바로 스트린드베리히 자신의 모습이 그대로 반영된 것이다. 신에 대한 반항아이며 동시에 신의 고통받는 종의 정체성을 보여주는 작가의 이런 이중성은 그가 오래 전부터 관심을 보인 종교에 그 뿌리를 두고 있다. 삼부작 「다마스쿠스로 가는 길」의 세 부분은 각각 특징을 지닌 독립적인 극이지만, 구원을 갈망하고 이를 끊임없이 추구하는 공통점을 지니고 있다.

『토트씨네 사람들』(Tóték) 연구: 사회주의에 내던져진 부조리

김보국 한국현대영미드라마학회 2015 현대영미드라마 Vol.28 No.1

István Örkény (1912-1979), one of the most famous modern Hungarian dramatists, authored many literary works, including several novels, novellas, and short-short stories that enjoy international readership. Among these works is his play The Toth Family(1967), the first work he produced that made him a well-known writer not only in Hungary but also the world over. Although critics often focus on the grotesque when analyzing The Toth Family, the novella also exhibits many of the characteristics of Western absurd drama. In fact, it is generally accepted that The Toth Family is the first absurd drama in Hungarian literature. While this paper examines elements of the absurd in The Toth Family, these elements are not always common to those found in the Western absurd drama as defined by Martin Esslin in his book, The Theater of the Absurd(1961). As many researchers point out, the absurd drama of Eastern Europe differs from its Western counterpart. This paper examines the unique nature of Hungarian absurd drama. This analysis will focus on two elements found in Örkény’s The Toth Family: the use of ritual and the use of word play. First, the cardboard packing boxes that the Toth family must cut every night function as a kind of rite. This kind of ritualized action is an element of Western absurd drama and can be easily compared to the use of ritual in Jean Genet’s Les Bonnes(1947). However, the boxes connect closely to both the plot and to the development of theme: The cutting machine that the family must use pushes the plot forward even as it symbolizes the importance of taking action to free oneself from the absurdities of life. Örkény also uses word play and the inclusion of meaningless words in the text, much like the Western playwrights Beckett and Ionesco. In The Toth Family, however, this usage connects with something distinctly Hungarian. To demonstrate this connection, this paper will analyze the use of word play and meaningless words using the Jungian theory of psychology.

“That Ceaseless Revery About Life Which We Call Wisdom”: A Comparison of Yeats’s and Maeterlinck’s Dramaturgy

Ariane Murphy 한국현대영미드라마학회 2015 현대영미드라마 Vol.28 No.3

“That ceaseless revery about life which we call wisdom”: a comparison of Yeats’s and Maeterlinck’s dramaturgy Abstract ArianeMurphy William Butler Yeats read extensively the French Symbolists and the plays of the Belgian playwright, Maurice Maeterlinck, before there were widely known in the English and Irish literary world. However, Yeats made a point to distance himself from his increasingly famous contemporary playwright. A word returns repeatedly in Yeats’s criticism about Maeterlinck’s drama: his early plays lack “revery”. This paper examines how the concept of reverie drives the dramaturgy of two plays with similar stories, Deirdre by Yeats and Pelléas and Mélisande by Maeterlinck. On the one hand, in Yeats’s review of one of Maeterlinck’s plays, “revery” acquires the original meaning of a type of poetics that demands at the same time philosophical reflection and poetry. In Deirdre, deep thought expressed directly by the characters goes along with high language: at a time when the Irish stage represents Irish realist peasant drama, Yeats uses the same legends but in a poetic theatre. Maeterlinck’s characters do not express that type of “revery”: no philosophy, but pure emotions, no verse, but a language simplified to its core, leaving space for silence. On the other hand, reverie in its original definition, as a romantic state that lies between the unconsciousness of the dream and the consciousness of an awoken mind, plays an important part in both Pelléas and Deirdre. Maeterlinck’s characters do not act; they experience a ceaseless reverie that the spectator is made to experience with them at the sight of their reverie. Unlike Maeterlinck, Yeats does not show the moments of the reverie, but he explains the consequent thoughts of the characters’ reverie, the same way he does not represent the whole legend but he begins the action of Deirdre when the story is almost over. Yeats refuses both action and emotion: Yeats’s dramaturgy of reflection thus responds to Maeterlinck’s dramaturgy of experience.

Top Boy에 드러난 공영주택단지와 흑인 공동체 재현

김유 한국현대영미드라마학회 2022 현대영미드라마 Vol.35 No.3

Council estates, the multi-storey tower blocks in Britain, were built in the early 20th century in order to improve housing affordability for the low-income inner-city working class. Throughout the post-war era, however, they have degenerated into the poorest and the most marginalized communities. Dominant media discourses which stigmatize council estates, highlight the sensational behaviors of the estates residents, eliminating their ‘quotidian’ experience and thus reducing the lived realities of the community to a dangerous, violent space. Top Boy, a British television drama series set in the housing estates of East London, moves beyond the generic conventions of crime drama and entails a piquant critique of the British society in the 21st century. The series focuses on the social inequalities and economic deprivation of the black community in the social welfare blind spots. This paper understands Top Boy as a challenge to the existing council estates discourses and evaluates the way the series attempts to represent the most underprivileged space in the interactions of class tension, racism and neo-liberalism. The paper examines the council estates as class-segregated and racialised space, focusing on cinematography in Top Boy. It also explores the way the quotidian experiences in the estates are reinstated through the narrative of Ra’Nell, a black teenager, and demonstrates how Top Boy revises the moralistic, behavioural aspects of the existing council estates discourses. Finally, the paper discloses how community solidarity in Top Boy challenges the established discourses which reduce the complex realities of the council estates to a simple tale of social dysfunction.

마이크 바틀렛의 Cock에 나타난 포스트드라마 이후의 드라마 전략

한재은 한국현대영미드라마학회 2018 현대영미드라마 Vol.31 No.1

In recent years, a growing number of British playwrights are talking about contemporary social issues, and Mike Bartlett is definitely representative of the group. Most postdramatic theatres from the 1960s to the 1990s espoused the idea that the closed structure of text-based plays were inappropriate platforms for the experimental and ambiguous interests of postmodernism. By contrast, Bartlett’s Cock introduces controversial issues related to gender identity in a text-based, narrative-structured play. Cock depicts the conflict between a man and woman who are both lovers of the protagonist, John. Their arguments are likened to a cockfight, hence the title. As John’s dilemma deepens, the problems of gender fluidity and homonormativity are magnified, challenging the audiences to explore different views and possibilities. Bartlett provides pauses and points of interruption to allow the audience to focus on the text. This reminds us of postdramatic experiments that focused on the rhythm of text. Cock also has traditional features such as narrative storylines and symbolic characters, such as W, who represents the woman, M, the man, and F, the father. By placing them in a near-schematic narrative structure, this play gets the audience involved with John's decision in choosing a sexual identity. However, the play does not allow John to choose just one side. Instead, it has the audience witness the pressure that John is faced with while dealing with his issues. By using various types of narrative techniques, including postdramatic strategies, Cock suggests that text-dominant plays can effectively discuss sensitive issues. The play also reveals the direction in which dramas after the postdramatic era are heading.

한국계 미국인 디아스포라의 세대별 양상: 성 노, 줄리아 조, 미아 정의 작품을 중심으로

이형식 한국현대영미드라마학회 2020 현대영미드라마 Vol.33 No.1

The aim of this paper is to examine different aspects of Korean American diaspora in the plays of Sung Rno, Julia Cho, and Mia Chung. Born and raised as second generation Korean Americans, these playwrights delineate how different generations of immigrants exhibit different degrees of assimilation and suffer from the anxieties of identity formation. I discuss the plays of these playwrights through the lens of diaspora paradigm and suggest that even though the degrees of assimilation into American may be different among these generations, the diasporic state of being “suspended between countries of origin and adopted homelands” apply to all of them. The first-generation Korean immigrants were forced to move to America because of war, famine, and economic difficulties. With little educational background in Korea, they could not successfully adapt to American society due to lack of language proficiency and were isolated from their spouses and children, not to mention the community surrounding them. In contrast, the second wave immigrants came over to achieve their American dream, that is, to enjoy affluent living and send their children to prestigious American universities. However, the characters in Cleveland Raining and Durango fail to assimilate into American community or working environment and their failure ultimately leads their family into disfunctional situation. Even with their fluent English and education, their children also suffer from racialized environment and have difficulty constructing subject positions in America. Mia Chung’s You for Me for You is unique in that it deals with a North Korean refugee. Junhee, one of the two sisters, immigrates to America to acquire an American citizenship so that she could rescue her sister held in custody in North Korea. The play contrasts the totalitarian system of North Korea with consumerism of the U.S. on the stage of magic realism. Junhee’s itinerary from North Korea to the US and then to North Korea back again depicts Korean nomad’s diaspora which still continues in the globalized world.

"멋진 악운"(Good Bad Luck): Margaret Fleming과 Long Day's Journey into Night 속의 멜로드라마적 유산

강유나 한국현대영미드라마학회 2004 현대영미드라마 Vol.17 No.3

James Herne and Eugene O'Neill has been regarded as innovators of modern American drama, who discarded the conventions of the traditional melodrama. In this paper, however, Herne's Margaret Fleming and O'Neill's Long Day's Journey into Night are examined from the melodramatic perspective, and it proposes to situate them as the offsprings of the tradition of American family melodrama. Historically, family melodrama has been a dramatic form for the middle class, who considered the family as the locus of their value judgment. But while defending the bourgeois family ideology, family melodrama also has been a "drama of excess" which subtly reveals the inner moral struggle and hysteria against its easy reconciliation. Margaret Fleming ultimately communicated to the audience its unstable happy ending and criticism toward family ideology, while it was concerned with "angel of the house" and her kind heart toward her unfaithful husband and his illegitimate son. O'Neill obviously criticized the family values as the deadlock to the individual's freedom, but he was not altogether free from the idea of family, as the Tyrones in Long Day's Journey into Night were trying to communicate with each other even after their disillusion. Hence the malleability of melodrama is conveyed by Herne and O'Neill through the transformation of the 19th century melodramatic tradition to the modern stage.

영국에서의 드라마터그의 역할과 그 변화하는 양상

임도현 한국현대영미드라마학회 2013 현대영미드라마 Vol.26 No.2

This essay is a kind of introduction to the role of the dramaturg in a British context. Compared with Europe continental countries including Germany, England had a hard time in implanting and developing the system of the dramaturg because of the specific circumstances of the theater of England. This essay first explores the circumstances of the English theater in relation to the dramaturg and in turn proves the dramaturg’s role which has been developing in England. In the first place, this essay explains the inflow of the foreign term ‘dramaturg’ into England, where ‘literary manager’ is used as an English term equivalent to the term, ‘dramaturg.’ It can account for the reason why the confusion between the terms ‘dramaturg’ and ‘literary manager’ often occurs in England. The next focus is upon the history of the English theater in order to argues that there was a continual need of the dramaturg in the theater of England. As an example of the argument, the ‘Blue Book’ of Baker and Archer is taken because it clearly states the demand of the role of the dramaturg. In the next place, the practice of the dramaturg in England after 1960s is described. Kenneth Tynan is introduced as the first official dramaturg in England. Finally, this essay points out that the need of new plays with the grand of state subsidies had a positive influence upon the development of the dramaturg. In conclusion, this essay claims that the role of the dramaturg in England assums developing aspects even though there are still unsolved problems to form a condition where the system of the dramaturg can desirably be executed.

‘리서치’로서의 생태연극: Carla and Lewis의 에코드라마터지

조주영,최성희 한국현대영미드라마학회 2020 현대영미드라마 Vol.33 No.3

Unlike ecocriticism that has emerged since the 70s, the engagement with ecocriticism in theatre/performance studies came late in the 90s. Since then, starting with Una Chaudhuri, the concept of ‘ecodrama’ has been explored by Wendy Arons, Theresa J. May, and Downing Cless. To narrow the gap between nature and culture/theatre, early ecotheater scholars and practitioners, including Chaudhuri herself, attempted to leave the theatre and make a site-specific play in the Nature outside the theatre. However, in 2010, ‘The Ecocide Project’, which was part of NYU’s Research Theatre, returned to the theatre and created a play called Carla and Lewis. In this paper, we examine the possible implications that lie behind its ‘return’ and the significance of this project/play within the topography of ecodramaturgy. According to May, ecodramaturgy is a theatre praxis that puts ecological relations between nature and culture and human and nonhuman at the center of its critical analysis and artistic practice. In this sense, we argue that Carla and Lewis, as a ‘Research Theatre,’ serves as an exemplary model for ecodramaturgy since it effectively incorporates theories such as Timothy Morton’s “Deep/Queer Ecology,” Deleuze and Guattari’s “becoming-animal,” Jane Bennett’s “vibrant materialism,” and Antonin Artaud’s “theatre of cruelty” into the play. Moreover, we claim that Carla and Lewis redefines the theatre as a space full of ecocritical possibilities, a space where heterogenous but porous, vibrant matters appear as new “actants” on stage.