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초록· 키워드
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Adrienne Kennedy, a female African-American playwright, dramatized the dusky and painful moments of her own experience, as she said that her autobiographical work was the only thing that interested her. She is an obsessive writer, able to dramatize that obsessiveness in the rhythms of language, the dense weave of her structure, and the singlemindness of her character. Even though her plays can be called "the memory plays", they are not about her memories; her plays do not represent her memories but evoke them and create them on the stage. The audience not only observes but experiences the very act of memory. Instead of following the conventional strategy of realistic drama, her plays are touched with anguish and filled with images of violence or physical sufferings, which reveals the common harsh realities of a black woman.
Kennedy's theater presents a state of mind more so than events, though many events in her theater can be easily traced back to what we know about her life. It is best represented in her first play, Funnyhouse of a Negro, showing the portrait of distorted images in a funhouse, the walls of which are all mirrors endlessly reflecting and splitting objects into distorted fragments. The characters in her play represent her split personalities, reflected in the mirrors. That is why she herself describes her drama "becoming a self."
This paper, which examines the matter of memories in the Kennedy's play, is divided into two sections: one is about her experience as an African-American, while the other is about her experience as a woman in a patriarchical society. Her plays are filled with images from African history and her characters struggle with the meaning of their blackness, which leads Sarah, a black woman in Funnyhouse of a Negro, to hide in her room living life as a passive observer, and leads Clara in A Movie Star Has to Star in Black and White to find, in film, everything that her daily life lacks, rather than through her own adventures. Each of Kennedy's characters goes on an interior emotional journey to find their individual identities, playing roles of various people such as Queen Victoria, Patrice Lumumba, Bette Davis and Jean Peters, etc. According to People Who Led to My Plays, all the people whom she met in reality, through books and the cinema screen, influenced her a great deal to the point where all the characters presenting the famous actresses or historical personages become the projections of Kennedy herself. Their personal fantasy world becomes the battleground for wars of race, class, and gender in the U.S. culture. Her intensely personal image combines with political and social symbols to evoke the disturbing thoughts about her blackness.
One of Kennedy's recurring motifs is a fear of rape leading to death, or a state worse than death, such as bestial metamorphosis. The best known metamorphosis is to turn into an owl as we can see it in The Owl Answers, in which the name of the female protagonist is "She who is Clara Passmore who is the Virgin Mary who is the Bastard who is the Owl." In this play, the intellectual rape of this black woman and the impossibility of coping with the multilayered historical, mythical and cultural contradictions is dramatized by her complaint: " I call God and the Owl answers."
Though Kennedy is reluctant to be named as a feminist and to join the feminist movement, her plays reveal the very essence of female experience: the feeling of bodily entrapment can be one of the most important issue in the feminism drama. Sarah trapped in her room and Clara who eventually turns into an owl are examples which show how much women suffer from this experience, making them consider their body a prison and to disregard it.
As a black woman, Kennedy has experienced a crop of impediments and discriminations in the white, male- dominant society. This led her to write plays which show the reality of black women, not by the realistic method but by the surrealism, because she thinks that the realistic drama following the traditional convention of the patriarchical society cannot mirror experiences correctly but distort them in a way much like the funhouse mirror distorts reality.
Kennedy's theater presents a state of mind more so than events, though many events in her theater can be easily traced back to what we know about her life. It is best represented in her first play, Funnyhouse of a Negro, showing the portrait of distorted images in a funhouse, the walls of which are all mirrors endlessly reflecting and splitting objects into distorted fragments. The characters in her play represent her split personalities, reflected in the mirrors. That is why she herself describes her drama "becoming a self."
This paper, which examines the matter of memories in the Kennedy's play, is divided into two sections: one is about her experience as an African-American, while the other is about her experience as a woman in a patriarchical society. Her plays are filled with images from African history and her characters struggle with the meaning of their blackness, which leads Sarah, a black woman in Funnyhouse of a Negro, to hide in her room living life as a passive observer, and leads Clara in A Movie Star Has to Star in Black and White to find, in film, everything that her daily life lacks, rather than through her own adventures. Each of Kennedy's characters goes on an interior emotional journey to find their individual identities, playing roles of various people such as Queen Victoria, Patrice Lumumba, Bette Davis and Jean Peters, etc. According to People Who Led to My Plays, all the people whom she met in reality, through books and the cinema screen, influenced her a great deal to the point where all the characters presenting the famous actresses or historical personages become the projections of Kennedy herself. Their personal fantasy world becomes the battleground for wars of race, class, and gender in the U.S. culture. Her intensely personal image combines with political and social symbols to evoke the disturbing thoughts about her blackness.
One of Kennedy's recurring motifs is a fear of rape leading to death, or a state worse than death, such as bestial metamorphosis. The best known metamorphosis is to turn into an owl as we can see it in The Owl Answers, in which the name of the female protagonist is "She who is Clara Passmore who is the Virgin Mary who is the Bastard who is the Owl." In this play, the intellectual rape of this black woman and the impossibility of coping with the multilayered historical, mythical and cultural contradictions is dramatized by her complaint: " I call God and the Owl answers."
Though Kennedy is reluctant to be named as a feminist and to join the feminist movement, her plays reveal the very essence of female experience: the feeling of bodily entrapment can be one of the most important issue in the feminism drama. Sarah trapped in her room and Clara who eventually turns into an owl are examples which show how much women suffer from this experience, making them consider their body a prison and to disregard it.
As a black woman, Kennedy has experienced a crop of impediments and discriminations in the white, male- dominant society. This led her to write plays which show the reality of black women, not by the realistic method but by the surrealism, because she thinks that the realistic drama following the traditional convention of the patriarchical society cannot mirror experiences correctly but distort them in a way much like the funhouse mirror distorts reality.
목차
Ⅰ. 서론
Ⅱ. 자서전적 경험의 재생과 변형
Ⅲ. 여성으로서의 경험과 재생 양식 : 무한한 반사와 굴절의 이미지
Ⅳ. 결론
주
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