역사적 반성으로서의 드라마－토마스 베른하르트 은퇴 전에 Vor dem Ruhestand 연구 (Drama as historical reflection － A Study on Thomas Bernhard’s Drama)

서지정보

· 발행기관 : 한국브레히트학회
· 수록지 정보 : 브레히트와 현대연극 / 39호 / 7 ~ 27페이지
· 저자명 : 이상복

초록

본 논문은 베른하르트가 드라마 은퇴 전에에서 나치즘의 역사를 어떤 방식으로반성하는지를 다음과 같은 관점에서 고찰하겠다.
첫째, 은퇴 전에의 역사적 반성 문제를 본격적으로 분석하기 전에 작품의 생성사와 수용사를 간단하게 살펴보고, 둘째, 은퇴 전에가 올바르게 청산되지 않고 현재에도 편재해있는 나치이데올로기를 어떻게 비판하고, 이를 어떻게 극적으로 구성하고 있는지를 분석하겠다. 셋째, 은퇴 전에에서 역할놀이를 하는 인물들의 특징과 그 관계에 대해 살펴보고, 넷째, 이 드라마에서 비판하는 역사 왜곡을 사진을 통한 기억작업의문제에서 살펴보겠다. 다섯째, 은퇴 전에에서 ‘말과 침묵’이라는 언어 형식이 어떻게나타나며, 그 의미는 무엇인지 고찰할 것이다.

영어초록

In this paper, I looked at how the Nazi history was reflected in the Thomas Bernhard drama <Vor dem Ruhestand>. Rudolph Höller, who formerly hired Nazi officers and became chief justice, is having a birthday party Heinrich Himmler’s with his sisters every year. The drama of birthday party preparation, waiting and memory work is static because there is no clear dramatic ‘Super target’. This birthday party is a forbidden play. The role-playing characters are theatrical beings who have not secured their identity. The main character Rudolph lives in the present, but everything is in the past. In particular, he is subordinate to him like the envy of Strength. Vera, who relies on everything for her younger brother Rudolph, is only responsible for preparing forbidden plays. Clara, an antagonist in this drama, is a theatrical actor who is fond of his role in opposing Rudolf and Vera, who follow Nazi ideology, plays in this play.
People who are centered in the past rather than the present make memories present through pictures that preserve the past time. Through this memory work, Nazi ideology is also becoming current. In particular, it is suggested that the crime of Nazism is true, as well as the post-war German society, which may reflect on memories through photography. The reflection of Nazi history in the past is evident from the language perspective of this work. Clara’s silence can be understood as a critique of the "social silence" that existed in postwar German society. Bernhard criticizes the postwar reality of Germany in which the forces that are obsessed with the past Nazi ideology are still ubiquitous even though the drama can not completely eliminate the wrong history. This reminds me of the message that Bertolt Brecht warned in the <Der aufhaltsame Aufstieg des Arturo Ui>: “Der Schoß ist fruchtbar noch, aus dem das kroch.”

참고자료

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