지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Maria Irene Fornes who was born in Cuba in 1930 and came to America in 1945 won the six Obie awards. Her success as playwright began with Tango Palace written in 1964. Since then, she has been writing controversial plays portraying how political power influences individual lives. Fornes's 1977 written work Fefu and Her Friends is one of her most acclaimed plays which deals with power and its effect. Fefu has brought Fornes the two Obie awards as both playwright and director. The middle-class and educated women in Fefu share the invisible scar that was brought about by the society they live in in 1935. Throughout the play Fefu and Julia theatricalize the scar on the stage--Fefu by her masculine imitating behaviour and speech, and Julia by visible paralysis and hallucinations.
The Fefu's invisible scar is acted out when she resists against the oppression imposed upon her by a male dominated society. She shoots a gun, plumbs the toilet, and hallucinates throughout the play. Fefu shoots at her husband Phillip whois outside in the lawn, saying it is empty. We are told that Phillip has married her in order to be reminded how loathsome women are. As the play progresses, it is discovered that Phillip controls the bullets. Although he never appears on the stage, evidently he controls and silences women on the stage.
Fefu walks around the stage, saying she plumbs her own toilet. but despite her confident behaviour and speech, Fefu carries the invisible scar that is effected by a male-centered society. She experiences a hallucination and has come to realize that she will also face paralysis similar to Julia. Although she resists against the oppression by means of male behaviour and voice, she succumbs, losing her own voice and will; she is aware of her imminent submission to the patriarchal system.
The other character Julia represents visibly the invisible scar. She is wheeled onto the stage. Although a hunter. who shot the deer, left only a surface scar on her, Julia fell and became half paralyzed. Since then, she faints and hallucinates. Fornes divides Part 2 into four sections, leading the audience onto the stage and has them participate in the entire four different scenes one at a time. Fornes purports to demonstrate that what happens on the stage is experienced by contemporary women. In the bedroom scene, Julia provides the audience with the oppressors' identity and their persecution: they clubbed and beat her; took out her eyes, and forced her to submit to their demands. Asa result, she has become half paralyzed and hallucinates as a psychosomatic reaction. Julia, then, conveys a dramatic monologue, explaining that in order to survive she acts and says as she is being commanded by the tormentors--judges. In her forced prayer, she says, "The human being is of the masculine gender," "The mate for man is woman and that is the cross man must bear," "Woman's spirit is sexual," "That is why after coitus they dwell in nefarious feelings."
Fefu finally reaches the final point that she cannot face reality whereby she goes through a constant pain caused by distorted relationships with her husband. Fefu realizes that she will become like Julia, surrendering and living in paralysis. In order to avoid becoming like Julia, she shoots a rabbit and simultaneously Julia.
In Part 3, Fornes provides a bright side to a woman's world. When Fefu and her friends, who have gathered at the Fefu's New England country home, begin to rehearse the speech that they will deliver at the educational fund raising meeting, they begin to suggest a way in which they can get rid of the paralysis--the invisible scar. The speech reveals that women are a creation of God's consciousness coming after slowly and painfully into self-awareness. Women should seek genuine life forces which are evolving into consciousness. Women in solidarity will feel strong. Also, they would benefit by loving each other as guardians. Hence, they will feel alive. Women need to avoid being controlled by the memorization of facts such as "women are loathsome" and "human beings are male". It is possible to see Julia as a sacrifice enabling the other women characters and the audience to transform their lives. It is also possible to consider Julia's death as giving birth to a new community. Through the exaggerated depictions of women's resistance against the patriarchal system, Fornes clearly delivers the message that women need to unlearn many distorted notions so as to develop, recreate, and reconstruct their lives.
The Fefu's invisible scar is acted out when she resists against the oppression imposed upon her by a male dominated society. She shoots a gun, plumbs the toilet, and hallucinates throughout the play. Fefu shoots at her husband Phillip whois outside in the lawn, saying it is empty. We are told that Phillip has married her in order to be reminded how loathsome women are. As the play progresses, it is discovered that Phillip controls the bullets. Although he never appears on the stage, evidently he controls and silences women on the stage.
Fefu walks around the stage, saying she plumbs her own toilet. but despite her confident behaviour and speech, Fefu carries the invisible scar that is effected by a male-centered society. She experiences a hallucination and has come to realize that she will also face paralysis similar to Julia. Although she resists against the oppression by means of male behaviour and voice, she succumbs, losing her own voice and will; she is aware of her imminent submission to the patriarchal system.
The other character Julia represents visibly the invisible scar. She is wheeled onto the stage. Although a hunter. who shot the deer, left only a surface scar on her, Julia fell and became half paralyzed. Since then, she faints and hallucinates. Fornes divides Part 2 into four sections, leading the audience onto the stage and has them participate in the entire four different scenes one at a time. Fornes purports to demonstrate that what happens on the stage is experienced by contemporary women. In the bedroom scene, Julia provides the audience with the oppressors' identity and their persecution: they clubbed and beat her; took out her eyes, and forced her to submit to their demands. Asa result, she has become half paralyzed and hallucinates as a psychosomatic reaction. Julia, then, conveys a dramatic monologue, explaining that in order to survive she acts and says as she is being commanded by the tormentors--judges. In her forced prayer, she says, "The human being is of the masculine gender," "The mate for man is woman and that is the cross man must bear," "Woman's spirit is sexual," "That is why after coitus they dwell in nefarious feelings."
Fefu finally reaches the final point that she cannot face reality whereby she goes through a constant pain caused by distorted relationships with her husband. Fefu realizes that she will become like Julia, surrendering and living in paralysis. In order to avoid becoming like Julia, she shoots a rabbit and simultaneously Julia.
In Part 3, Fornes provides a bright side to a woman's world. When Fefu and her friends, who have gathered at the Fefu's New England country home, begin to rehearse the speech that they will deliver at the educational fund raising meeting, they begin to suggest a way in which they can get rid of the paralysis--the invisible scar. The speech reveals that women are a creation of God's consciousness coming after slowly and painfully into self-awareness. Women should seek genuine life forces which are evolving into consciousness. Women in solidarity will feel strong. Also, they would benefit by loving each other as guardians. Hence, they will feel alive. Women need to avoid being controlled by the memorization of facts such as "women are loathsome" and "human beings are male". It is possible to see Julia as a sacrifice enabling the other women characters and the audience to transform their lives. It is also possible to consider Julia's death as giving birth to a new community. Through the exaggerated depictions of women's resistance against the patriarchal system, Fornes clearly delivers the message that women need to unlearn many distorted notions so as to develop, recreate, and reconstruct their lives.
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