수행성의 재현: 사라 룰의 극에 나타난 인용과 반복 (Representing the Performative: Citation and Iteration in Sarah Ruhl’s Plays)

서지정보

· 발행기관 : 한국영미어문학회
· 수록지 정보 : 영미어문학 / 134호 / 1 ~ 21페이지
· 저자명 : 김영덕

초록

This essay discusses Sarah Ruhl’s representation of actor characters in her metatheatrical plays, Passion Play and Stage Kiss, in terms of the ritualized practice of cultural norms. Ruhl thematizes what it means for an actor to perform a script, both cultural and theatrical, using the Theatrum Mundi metaphor in order to dramatize the reality-stage continuum in which drama and real life cite and replicate each other. The characters’ performing of cultural norms repeatedly conflates with that of theatrical conventions as the stage iterates and cites the world, and vice versa. Echoing Ruhl’s notion of writing as translation, the two plays cite and iterate the conventions of theatre, appropriating motifs and themes of mystery plays as well as dramatic texts from the past. Drawing on the discourse of performativity, this essay suggests that characters’ onstage performance becomes a locus for change through the process of surrogation and the ritualized iteration of cultural norms and scripts. The characters transform the stage into a liminal space in which they can reconstruct their identity, and thus brings about a resignification and reconstitution of their relation to cultural norms.

영어초록

This essay discusses Sarah Ruhl’s representation of actor characters in her metatheatrical plays, Passion Play and Stage Kiss, in terms of the ritualized practice of cultural norms. Ruhl thematizes what it means for an actor to perform a script, both cultural and theatrical, using the Theatrum Mundi metaphor in order to dramatize the reality-stage continuum in which drama and real life cite and replicate each other. The characters’ performing of cultural norms repeatedly conflates with that of theatrical conventions as the stage iterates and cites the world, and vice versa. Echoing Ruhl’s notion of writing as translation, the two plays cite and iterate the conventions of theatre, appropriating motifs and themes of mystery plays as well as dramatic texts from the past. Drawing on the discourse of performativity, this essay suggests that characters’ onstage performance becomes a locus for change through the process of surrogation and the ritualized iteration of cultural norms and scripts. The characters transform the stage into a liminal space in which they can reconstruct their identity, and thus brings about a resignification and reconstitution of their relation to cultural norms.

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