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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.12
- 수록면
- 233 - 251 (19page)
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This paper is to explore how Arthur Kopit bitterly criticizes melodrama and the melodramatized American history in his Indians. According to Kopit, the American history has been fabricated and distorted by the American white males. Furthermore, the American white males’ historical view is closely related to the characteristics of melodrama. In Indians, Kopit mocks and rejects the melodramatic characteristics by adopting anachronistic structure and anti-realistic techniques, presenting the protagonist far from the melodramatic characterization and using play-within-the-play.
The structure of Indians is composed of the anachronistically arranged 13 Scenes except the last 4 scenes. The purpose of this structure is to create a sense of disorientation in the audience and rethink about the Vietnam War in the context of American history. Also, Kopit freely uses the anti-realistic techniques, such as epic theater techniques, surrealism, theatricalism and expressionism to prevent the audience from being immersed in dramatic fantasy.
The protagonist, William Cody, becomes Buffalo Bill by ‘the magic pen’ of Ned Buntline and establishes his image as a national hero in his Wild West Show. However, he proves himself as a man of split identity, thus far from the melodramatic hero.
The Scouts of the Plains, a melodrama and a play-within-the-play of Scene 7, is located in the middle of Indians and functions as the review of former scenes and indication of subsequent scenes. Besides, it is the bitter satire of the playwrights, directors, actors/actresses and audience of melodrama popular in the 19th century America. Conclusively, Indians succeeds in inducing the audience to participate actively in rewriting the misguided American history.
The structure of Indians is composed of the anachronistically arranged 13 Scenes except the last 4 scenes. The purpose of this structure is to create a sense of disorientation in the audience and rethink about the Vietnam War in the context of American history. Also, Kopit freely uses the anti-realistic techniques, such as epic theater techniques, surrealism, theatricalism and expressionism to prevent the audience from being immersed in dramatic fantasy.
The protagonist, William Cody, becomes Buffalo Bill by ‘the magic pen’ of Ned Buntline and establishes his image as a national hero in his Wild West Show. However, he proves himself as a man of split identity, thus far from the melodramatic hero.
The Scouts of the Plains, a melodrama and a play-within-the-play of Scene 7, is located in the middle of Indians and functions as the review of former scenes and indication of subsequent scenes. Besides, it is the bitter satire of the playwrights, directors, actors/actresses and audience of melodrama popular in the 19th century America. Conclusively, Indians succeeds in inducing the audience to participate actively in rewriting the misguided American history.
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