페르소나를 통한 연극성의 실현 - 예브레이노프과 아를레킨의 관계를 중심으로 (The realization of theatricality through Persona - Focused on the relationship of Evreinov and Harlequin)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 33권 / 33호 / 179 ~ 214페이지
· 저자명 : 김주연

초록

Persona's etymology comes from masks worn by actors who played in ancient Greece. In psychological terms, the term refers to the shape of our true self, our desired self. For artists, Persona is an important indicator of her artistic vision and direction. The artist's Persona sometimes appears through characters in the work and is implemented through the bodies of other artists such as actors and dancers. But in most cases, the artist himself in reality and the Persona in the work have some clear distinction.
In the case of Russian playwright, director, and play theorist Nikolai Evreinov, his relationship between Persona is a little different. Throughout his life, Evreinov wanted to realize his artistic vision, dramatic ideals through the Harlequin character of Commedia Dell'arte and actually starred him as a main character in several of his plays. Moreover, in real life, he often identified himself as Harlequin.
In this paper, we looked at the special artist-Persona relationship between Evreinov and Harlequin in terms of 'realization of theatricality through Persona.' First, we briefly looked at the period and personal background that Evreinov wanted to make Harlequin as a Persona. Next, we looked at how the concept of 'the dramatization of life,' which is at the core of Evreinov's theater theory, was implemented through Harlequin in the stage and life. And through this, we explored Harlequin's meaning as a comprehensive present of Evreinov's theatericality, beyond simple artistic Persona.
We also compared Harlequin's features in Evreinov's early work, <The Merry Death>, and in his later work <The Main Thing>. Through this research, we looked at the details of how Evreinov's artistic vision changed through Harlequin's character. At the core of Evreinov's theater theory is that it should eventually eliminate the distinction between the stage and life and turn one's life into a theater. Given this fact, Harlequin may be the core of his theatricality, which embodies Evreinov's artistic ideals both in play and in life.

영어초록

Persona's etymology comes from masks worn by actors who played in ancient Greece. In psychological terms, the term refers to the shape of our true self, our desired self. For artists, Persona is an important indicator of her artistic vision and direction. The artist's Persona sometimes appears through characters in the work and is implemented through the bodies of other artists such as actors and dancers. But in most cases, the artist himself in reality and the Persona in the work have some clear distinction.
In the case of Russian playwright, director, and play theorist Nikolai Evreinov, his relationship between Persona is a little different. Throughout his life, Evreinov wanted to realize his artistic vision, dramatic ideals through the Harlequin character of Commedia Dell'arte and actually starred him as a main character in several of his plays. Moreover, in real life, he often identified himself as Harlequin.
In this paper, we looked at the special artist-Persona relationship between Evreinov and Harlequin in terms of 'realization of theatricality through Persona.' First, we briefly looked at the period and personal background that Evreinov wanted to make Harlequin as a Persona. Next, we looked at how the concept of 'the dramatization of life,' which is at the core of Evreinov's theater theory, was implemented through Harlequin in the stage and life. And through this, we explored Harlequin's meaning as a comprehensive present of Evreinov's theatericality, beyond simple artistic Persona.
We also compared Harlequin's features in Evreinov's early work, <The Merry Death>, and in his later work <The Main Thing>. Through this research, we looked at the details of how Evreinov's artistic vision changed through Harlequin's character. At the core of Evreinov's theater theory is that it should eventually eliminate the distinction between the stage and life and turn one's life into a theater. Given this fact, Harlequin may be the core of his theatricality, which embodies Evreinov's artistic ideals both in play and in life.

참고자료

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