「햄릿」의 세 극적 장치를 전용한 형이상학적 희비극으로서의 「포틴브라스」 연구 (A Study of Fortinbras as a Metaphysical Tragicomedy with Three Dramatic Devices of Hamlet Appropriated)

서지정보

· 발행기관 : 한국셰익스피어학회
· 수록지 정보 : Shakespeare Review / 48권 / 3호 / 661 ~ 680페이지
· 저자명 : 황규철

초록

This paper aims at proving that Lee Blessing’s Fortinbras can be viewed as a metaphysical tragicomedy with three dramatic devices of Hamlet appropriated. The play deals with metaphysical issues such as death, the hereafter, and the moral choices of this life. It also converts a series of tragic events regarding Fortinbras, Osric, and Horatio to a happy ending that their ghosts accept their role or fate and disappear with no vengeance against one another. Furthermore, Blessing combines comicality and seriousness by appropriating three dramatic devices such as a ghost, anachronism, and stage properties from Hamlet. First, nine ghosts in the play contribute to the blending of serious and light moods and reveal philosophical speculations on metaphysical issues. Second, some examples of anachronism of using a television set in which Hamlet’s ghost is confined, a television remote control used by Ophelia’s ghost, and a telescope used by Fortinbras and his ghost are of service to the comicality and seriousness of the play. Third, the stage properties−tapestry(Polonius), chalice(Gertrude), dried flower bouquet(Ophelia), prayer bench(Claudius), and foils(Hamlet and Laertes)−which are appropriated as decor of Fortinbras’s chamber but, in the end, discarded into the moat give the play comicality and seriousness. Therefore, Fortinbras is a noteworthy metaphysical tragicomedy in which three dramatic devices of Hamlet are appropriated brilliantly and humorously.

영어초록

This paper aims at proving that Lee Blessing’s Fortinbras can be viewed as a metaphysical tragicomedy with three dramatic devices of Hamlet appropriated. The play deals with metaphysical issues such as death, the hereafter, and the moral choices of this life. It also converts a series of tragic events regarding Fortinbras, Osric, and Horatio to a happy ending that their ghosts accept their role or fate and disappear with no vengeance against one another. Furthermore, Blessing combines comicality and seriousness by appropriating three dramatic devices such as a ghost, anachronism, and stage properties from Hamlet. First, nine ghosts in the play contribute to the blending of serious and light moods and reveal philosophical speculations on metaphysical issues. Second, some examples of anachronism of using a television set in which Hamlet’s ghost is confined, a television remote control used by Ophelia’s ghost, and a telescope used by Fortinbras and his ghost are of service to the comicality and seriousness of the play. Third, the stage properties−tapestry(Polonius), chalice(Gertrude), dried flower bouquet(Ophelia), prayer bench(Claudius), and foils(Hamlet and Laertes)−which are appropriated as decor of Fortinbras’s chamber but, in the end, discarded into the moat give the play comicality and seriousness. Therefore, Fortinbras is a noteworthy metaphysical tragicomedy in which three dramatic devices of Hamlet are appropriated brilliantly and humorously.

참고자료

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