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The purpose of this study is to consider how the concept of postmodernity is recognized in the fields of theater and painting, using Samuel Beckett’s plays and Rene Magritte’s paintings. In general, Beckett is thought to be a forerunner of the Absurd Drama and Postmodernism, while Magritte is called a painter of Surrealism, which is one of modernist painting groups. These two artists, though they had expressed themselves using different mediums and hadn’t met each other while they were alive, share postmodern attitudes toward artistic creation: the impossibility of artistic representation, the limit of language and the relativity of reality.
Magritte was much influenced by Giorgio de Chirico’s paintings, which made him consider what must be painted and not how to paint. In order to express the impossibility of artistic representation, Magritte presents still-life objects standing upon the framed canvas in Common Sense. In The Sweet Truth, he presents this problem in a different way: the painting depicts still-life objects on a table covered with a cloth, but the objects and the table are on a brick wall, as if they were two-dimensional.
Beckett starts from the same theme, the impossibility of artistic representation, too. He calls James Joyce a writer of omniscience and himself a writer of impotence and ignorance. It signifies the different attitudes toward artistic representation of Modernism and Postmodernism. The postmodern recognition of the impossibility of artistic representation in writing is based on the limit of language, which Fritz Mauthner and Ludwig Wittgenstein already suggested. Therefore Beckett tries to make a theater of presentation, not of representation, which does not require a dramatic illusion at any moment.
Beckett and Magritte share another postmodern concept, the relativity of reality, through the strategy of unfamiliarity. Magritte’s ‘depaysment’ makes objects appear in surprising situations on the canvas and lose their own original properties, such as a big rock floating in the air or an apple big enough to fill the room. Beckett also presents unusual dramatic images, like characters in a mound or jars and a lip floating in the air. Sometimes he brings in ghost-like images in his plays. The uncanny, as Elizabeth Wright says, has become an important concept in postmodern aesthetics because it acts as a challenge to representation. In addition to this, Beckett uses a concept of “probably” as a key word of juxtaposition and a factor of repetition in his plays. Magritte also expresses the concept of juxtaposition through double images, i.e. a painting within a painting.
Beckett, even though he accepts the postmodern view points in artistic creation, seems to adhere to the integrity of the original. He has a fixed idea about his own works and does not want to accept any kinds of transformation and change on them, which is why he is called “the last modernist” or “a postmodern modernist.” Magritte shows a freer attitude toward the original and the copy by recreating other artists’ works. Through this process, he tries to challenge the authority of traditional paintings and to deconstruct the original through parody and copying.
Magritte was much influenced by Giorgio de Chirico’s paintings, which made him consider what must be painted and not how to paint. In order to express the impossibility of artistic representation, Magritte presents still-life objects standing upon the framed canvas in Common Sense. In The Sweet Truth, he presents this problem in a different way: the painting depicts still-life objects on a table covered with a cloth, but the objects and the table are on a brick wall, as if they were two-dimensional.
Beckett starts from the same theme, the impossibility of artistic representation, too. He calls James Joyce a writer of omniscience and himself a writer of impotence and ignorance. It signifies the different attitudes toward artistic representation of Modernism and Postmodernism. The postmodern recognition of the impossibility of artistic representation in writing is based on the limit of language, which Fritz Mauthner and Ludwig Wittgenstein already suggested. Therefore Beckett tries to make a theater of presentation, not of representation, which does not require a dramatic illusion at any moment.
Beckett and Magritte share another postmodern concept, the relativity of reality, through the strategy of unfamiliarity. Magritte’s ‘depaysment’ makes objects appear in surprising situations on the canvas and lose their own original properties, such as a big rock floating in the air or an apple big enough to fill the room. Beckett also presents unusual dramatic images, like characters in a mound or jars and a lip floating in the air. Sometimes he brings in ghost-like images in his plays. The uncanny, as Elizabeth Wright says, has become an important concept in postmodern aesthetics because it acts as a challenge to representation. In addition to this, Beckett uses a concept of “probably” as a key word of juxtaposition and a factor of repetition in his plays. Magritte also expresses the concept of juxtaposition through double images, i.e. a painting within a painting.
Beckett, even though he accepts the postmodern view points in artistic creation, seems to adhere to the integrity of the original. He has a fixed idea about his own works and does not want to accept any kinds of transformation and change on them, which is why he is called “the last modernist” or “a postmodern modernist.” Magritte shows a freer attitude toward the original and the copy by recreating other artists’ works. Through this process, he tries to challenge the authority of traditional paintings and to deconstruct the original through parody and copying.
목차
Ⅰ. 베케트와 마그리트
Ⅱ. 예술적 재현에 대한 회의와 언어인식
Ⅲ. 실재의 상대성: ‘낯설게 하기’를 통한 병치 또는 혼재
Ⅳ. 결론: 같음과 다름
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