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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.12
- 수록면
- 103 - 126 (24page)
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The two main actions in Ashes to Ashes are evolved from the stories told by the two main characters, Rebecca and Devlin. The first action is the power game between the two characters, and the second is the awakening process of Rebecca and the audience, that human history which mainly consists of violence and oppression is the result of human agency. These two actions are mutually involved and struggle with each other to be dominant in the play. The agent of these two actions is storytelling. The aim of this paper is to study the functions of stories told by the characters.
This paper assumes that the stories told by the two characters are used as weapons when they struggle against each other to be dominant while they allow characters as well as the audience to reveal deep and difficult thoughts and feelings. Furthermore, a series of stories told by the female character makes herself as well as the audience not only gain power not to be controlled by power-oriented fascists, but also to have a social and shared responsibility for political violence and oppression that has been committed throughout history.
In the beginning of the play, the female character Rebecca presents “an ego ideal” in private as well as in public through storytelling to her partner Devlin. She deliberately tells stories concerning her former lover to use them as a means to confess herself that she is and was involved in violence such as the Holocaust where such people as her former lover as well as her present partner committed atrocities. What is ironical is that Devlin shows desire to know all about Rebecca’s former lover. That desire comes out of his wish to become like her former lover in his relation with Rebecca. Thus, the stories have different effects on the narrator Rebecca and the listener Devlin. Rebecca fights not to be manipulated by such power-oriented people while Devlin struggles to have the same position as Rebecca’s former lover.
As the play develops, Rebecca’s stories are no longer used as weapons for the power games but transforms her and the audience to face what could happen when they let the fascist-oriented people do what they want to do and to acknowledge their social and shared sense of responsibility for atrocities committed through history. The more Rebecca’s storytelling gains power and the more the audience becomes involved in Rebecca’s story, the less influencial Devlin’s voice becomes.
What is interesting in this play is the final part. Pinter returns the play to the starting point by making Rebecca deny her final confession “I gave him the bundle.” By doing this, Pinter reveals himself to live in a postmodern world where anything cannnot be said definitely.
This paper assumes that the stories told by the two characters are used as weapons when they struggle against each other to be dominant while they allow characters as well as the audience to reveal deep and difficult thoughts and feelings. Furthermore, a series of stories told by the female character makes herself as well as the audience not only gain power not to be controlled by power-oriented fascists, but also to have a social and shared responsibility for political violence and oppression that has been committed throughout history.
In the beginning of the play, the female character Rebecca presents “an ego ideal” in private as well as in public through storytelling to her partner Devlin. She deliberately tells stories concerning her former lover to use them as a means to confess herself that she is and was involved in violence such as the Holocaust where such people as her former lover as well as her present partner committed atrocities. What is ironical is that Devlin shows desire to know all about Rebecca’s former lover. That desire comes out of his wish to become like her former lover in his relation with Rebecca. Thus, the stories have different effects on the narrator Rebecca and the listener Devlin. Rebecca fights not to be manipulated by such power-oriented people while Devlin struggles to have the same position as Rebecca’s former lover.
As the play develops, Rebecca’s stories are no longer used as weapons for the power games but transforms her and the audience to face what could happen when they let the fascist-oriented people do what they want to do and to acknowledge their social and shared sense of responsibility for atrocities committed through history. The more Rebecca’s storytelling gains power and the more the audience becomes involved in Rebecca’s story, the less influencial Devlin’s voice becomes.
What is interesting in this play is the final part. Pinter returns the play to the starting point by making Rebecca deny her final confession “I gave him the bundle.” By doing this, Pinter reveals himself to live in a postmodern world where anything cannnot be said definitely.
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