이윤택의 『청바지를 입은 파우스트』 극작법 연구 (A Study on Dramaturgy『Faust on the Blue Jeans』Lee Youn-taek's)

서지정보

· 발행기관 : 원광대학교 인문학연구소
· 수록지 정보 : 열린정신 인문학 연구 / 16권 / 1호 / 29 ~ 53페이지
· 저자명 : 김용상

초록

The rule of Lee Yun Taek's playwriting lies in representation and contemporaneity. He insists that a work should be able to serve as text for performance and at the same time to gain the sympathy of contemporaries. For this aim, Lee Yun Taek uses such techniques as disorganization and reorganization. Disorganization and reorganization do not conflict with each other but are complementary concepts which separate and reorganize the elements of a play to make a new work having new significance. Lee Yun Taek borrowed the format of the 'play in a play' in his work『Faust in Blue Jean』in a try to secure Korean contemporaneity by citing the contents of the original in a reduced form. He transformed the spatial and timely background of the original to the Korean version in the 90s, placing focus on critical events of the then times. The writer even ventured to reconstruct the figures of the original for the purpose of intensifying the dramatic meaning and fun. He didn't change the names of the figures in the original to Korean ones to heighten the effect of strangeness or 'Verfremdungseffekt'. Usage of the names that are not well-matched with locality was designed to keep a certain distance from criticism concerning behaviors or awareness of the characters in the play. By typifying the plots of figures and characters of the play, the reality and sociality of the play could be amplified and their action became more predictable. 『Faust in Blue Jean』is an example of Lee Yun Taek's playwriting technique <Now-Here-We> showing his efforts to detail in the drama the structures of Korean timely situation as well as political and social life by paraphrasing the original『Faust』. The writer pursued significance and fun simultaneously in his recreation of Western classical dramas. It is his unique approach to set himself free from sentimental realism which seeks for cheap and meaningless fun and from immature copycat playwriting which pursues only meaning with no fun.

영어초록

The rule of Lee Yun Taek's playwriting lies in representation and contemporaneity. He insists that a work should be able to serve as text for performance and at the same time to gain the sympathy of contemporaries. For this aim, Lee Yun Taek uses such techniques as disorganization and reorganization. Disorganization and reorganization do not conflict with each other but are complementary concepts which separate and reorganize the elements of a play to make a new work having new significance. Lee Yun Taek borrowed the format of the 'play in a play' in his work『Faust in Blue Jean』in a try to secure Korean contemporaneity by citing the contents of the original in a reduced form. He transformed the spatial and timely background of the original to the Korean version in the 90s, placing focus on critical events of the then times. The writer even ventured to reconstruct the figures of the original for the purpose of intensifying the dramatic meaning and fun. He didn't change the names of the figures in the original to Korean ones to heighten the effect of strangeness or 'Verfremdungseffekt'. Usage of the names that are not well-matched with locality was designed to keep a certain distance from criticism concerning behaviors or awareness of the characters in the play. By typifying the plots of figures and characters of the play, the reality and sociality of the play could be amplified and their action became more predictable. 『Faust in Blue Jean』is an example of Lee Yun Taek's playwriting technique <Now-Here-We> showing his efforts to detail in the drama the structures of Korean timely situation as well as political and social life by paraphrasing the original『Faust』. The writer pursued significance and fun simultaneously in his recreation of Western classical dramas. It is his unique approach to set himself free from sentimental realism which seeks for cheap and meaningless fun and from immature copycat playwriting which pursues only meaning with no fun.

참고자료

· 없음