<경숙이 경숙아버지>에 나타난 경계성의 미학 - 아버지 부재와 경숙의 대응 양상을 중심으로 (The aesthetics of 'in - betweenness' that appears in drama : focused on the absence of father and the aspect of confrontation)

서지정보

· 발행기관 : 한국드라마학회
· 수록지 정보 : 드라마 연구 / 50호 / 129 ~ 158페이지
· 저자명 : 임보람

초록

이 글은 연극 <경숙이 경숙아버지>에서 나타나는 ‘경계성(in-betweenness)’이어떻게 연극적으로 형상화되고 있는지 이를 다양한 극적 표현기법과 연극 기호 등을 통해 살펴보는데 목적을 둔다.
<경숙이 경숙아버지>의 서사에서 논의의 중심이 될 ‘경계성’은 아버지의 부재에서 비롯된 가족의 해체와 복원 사이에서 발생한다. 서사의 중심에 있는 주인공 경숙이는 이 연극을 가족서사로 볼 수 있게 하는 중요한 인물이다. 경숙이는 드라마적인 텍스트에서 내적화자로서 일종의 나래이터의 역할을 하며 극의 서사구조를 생산하는 서사적 주체이다. 이 극적 주체는 자신이 경험한 과거의 시간을 극적 시간으로 ‘현재화’하여 그것을 무대 위에 구현한다. 등장인물이 한 가족의 구성원으로서 가족 단위의 서사 형성에 적극적으로 기여한다는점에서 이 작품은 가족서사라고 볼 수 있다. 가족서사는 박근형 연극을 이해하는 주요 키워드가 되어왔다. 그러나 이 작품은 박근형이 연출했던 작품들에서의 가족서사와 변별지점을 갖는다. 이들 작품들에서는 가족구성원에 의해 전통적 가족이데올로기가 부정되고 해체되면서 발생하는 경계의 지점들이, 관객에게 가족의 의미를 끊임없이 환기하면서 궁극적으로 가족 정체성의 주제로수렴한다. 그러나 이 작품에서 경계의 지점들은 관객들에게 가족의 의미를 묻기도 하지만 그보다 경숙이가 가족을 통해 개인으로서 성장해나가는 과정에무게를 둔다. 따라서 이 글은 경숙이의 성장에서 발견되는 복합적인 가족 구성의 과정이 경숙이가 아버지의 꼭짓점을 통해 세상을 이해하도록 하는 서사적대응이라는 점을 밝히고자 한다.
이 지점에서 아베와 경숙와의 긴밀한 관계에 초점을 맞추면서, 아베의 꼭짓점에서부터 발생하는 경계성의 미학이 중요한 극적 장치로 활용되고 있는지세 측면에서 살펴보고자 한다. 이 극적 장치는 첫째, 무대 공간에서, 둘째 인물형상화 양상에서, 그리고 셋째 주제적 의미에서 고찰할 수 있을 것이다.

영어초록

This article aims to study how 'in-betweenness' in drama <Kyoongsuk, Kyoongsukiabuji> is dramatically projected in narrative perspective through dramatic techniques of expression and symbols.
There's a main character Kyoongsuk at the center of narratives in <Kyoongsuk, Kyoongsukiabuji>. Kyoongsuk takes the role of narrator; inner speaker in the dramatic text and becomes a main agent who produces a narrative structure. The way this main character narrates is to bring her own past memories into present time dramatically and portraits them on the stage. Kyoongsuk passes her family stories to the audiences. Assuming 'narration is the way each every one perceives the world around them', her family narrative is the way of her comprehending herself through her family. In other words, the drama's inner communication structure, the narrator Kyoongsuk understands father while speaking of father and finds her own way to find the meaning of her family.
In the sense that character who is the one of family members contrubutes to the establishment of narration, this drama can be comprehended as a family narrative which was necessarily needed in understanding Park Geun-Hyoung's drama.
However, we can notice differences between this dram and Park Geun-Hyoung's narratives which we can find in his previous works.
In Park Geun-Hyoung's previous works, a leak which came from his denial and dissolving traditional family ideology connotes the meaning required for rebuilding the family. On the contrary, the growth of women is more important than the meaning of family. In this perspective, the aesthetics of 'in-betweenness' the drama deals with most importantly can be found in different narrative characteristics than previous family narrative ones. 'In betweenness' in this drama functions as a narrative factor to expand its topic into ontological direction which puts more weights on each individual's life than the understanding of family by putting up a women growth matter in front.
Referring Freud's Family Romance theory, Kyoongsuk's growth process starts from her family triangle consisting of father, mother, me. At each angular point, there're father who has wanderlust, mother who is devoted to her husband and Kyoongsuk.
For the growth of women, not men, women's alterite is being magnified in male-dominant patriarchy. Women have been 'others' in dichotomous structure; men and women. In this sense, men's alterite creates a leak in the hierarchical family structure, not strengthens it. Even if father provides the root cause of that crack, this triangle is not falling down and keeps its form, supported by mother and me.
Kyoongsuk accepts her situation losing the upper angular point father and reorganized family and furthermore, she is reborn as a main character who constructs her family. Accordingly, this article points out that complex family construction process found in Kyoongsuk's growth is a narrative reaction which enables her to understand her world through her father's triangular points, not a resistance to family structure itself. At this point, the aesthetics of 'in-betweenness' is being used as an important narrative tool in this drama.
This article studies 'in-betweenness' in three aspects. The first part is regarding stage space and the second one is how characters are projected and the last one is thematic meaning. In more specific, firstly, this work's dramatic time has the structure of twofold; the past and the present. We will see how this structure will be described by Kyoongsuk's memory. Secondly, we will understand how Kyoongsuk's father is projected in the drama and find out his border-crossing characteristic. Thirdly, we will look into the meaning of family by reviewing each character who is re-consisting of the family.

참고자료

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