‘아내 장례식’의 상징행위에 나타난 공연의 원리 2 -변화와 실천; 장자의 경우- (The Principles of the Ancient Performance in the Episode of ‘Death of the Wife of Zhengzhou’ 2)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 23권 / 23호 / 137 ~ 169페이지
· 저자명 : 정수연

초록

The performance of Zhengzhou in the funeral of his wife doesn’t show the characteristics of performance in general; there isn’t the interaction of the performer and the audience, the performer is interested in his enlightenment rather than the transformation of the audience, so that the meaning of the performance comes from his inner side, not from the interaction.
But essentially, it has the elements of performance. First, it pursues ethicality. His unethical actions in the performance which offends against the Confucian standards is the challenge to the rigidity of ethic of the time. In fact, his performance aims at the recovery of the ethic. Second, it centers on the introspective individual who is able to keep his identity and express his feelings regardless of others. Third, it opens up the possibility of the communication by the change of the performer himself, for the one who has room for change is able to communicate with others in any time.
So Zhengzhou rediscovers the meaning of an affair of the human life by the shocking symbolic actions in the funeral. And this is the purpose of the modern performance—the synthesis of art with everyday life.

영어초록

The performance of Zhengzhou in the funeral of his wife doesn’t show the characteristics of performance in general; there isn’t the interaction of the performer and the audience, the performer is interested in his enlightenment rather than the transformation of the audience, so that the meaning of the performance comes from his inner side, not from the interaction.
But essentially, it has the elements of performance. First, it pursues ethicality. His unethical actions in the performance which offends against the Confucian standards is the challenge to the rigidity of ethic of the time. In fact, his performance aims at the recovery of the ethic. Second, it centers on the introspective individual who is able to keep his identity and express his feelings regardless of others. Third, it opens up the possibility of the communication by the change of the performer himself, for the one who has room for change is able to communicate with others in any time.
So Zhengzhou rediscovers the meaning of an affair of the human life by the shocking symbolic actions in the funeral. And this is the purpose of the modern performance—the synthesis of art with everyday life.

참고자료

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