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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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This paper deals with the changes that Pinter makes through film technique in structure, narrative and theatrical experience in Betrayal. The technique that Pinter borrows from film is that of timing. This technique of timing has Betrayal's nine scenes flowing more freely in time than other plays. Some scenes go backward and others go forward in time.
Editing is essential to the technique of timing in film. In accordance with a director or a screenwriter's intention of time, scenes caught in some camera angels will be edited. Pinter edits nine scenes of Betrayal just as a film director would. according to 'movement in time." The result is that the nine scenes are not structured in chronological order. In other words, the play is not organically related any more in space or time. Accordingly, time or space is not measured or related as a process of action and reaction.
On the surface Betrayal seems to be a process of action and reaction; a love triangle narrative between two men and one woman. Its plot seems to develop like that of Oedipus Rex. However, if one looks at the play more deeply, it becomes apparent that it is a trick, for even if you go back to the starting point of the triangle relationship, there is no resolution; there is nothing but a void. The void is not made of nihilistic nothing, but is full of desire as the seed of creation. At this moment, the love triangle narrative disappears. A new narrative that resembles Deleuze's time image replaces it. The nine fragmented non-choronogical scenes start to reflect each other like many facets of a scattered crystal. It becomes very difficult to distinguish between the real and reflection. This new narrative makes audience have another experience theatrically different from that of the love triangle narrative.
Editing is essential to the technique of timing in film. In accordance with a director or a screenwriter's intention of time, scenes caught in some camera angels will be edited. Pinter edits nine scenes of Betrayal just as a film director would. according to 'movement in time." The result is that the nine scenes are not structured in chronological order. In other words, the play is not organically related any more in space or time. Accordingly, time or space is not measured or related as a process of action and reaction.
On the surface Betrayal seems to be a process of action and reaction; a love triangle narrative between two men and one woman. Its plot seems to develop like that of Oedipus Rex. However, if one looks at the play more deeply, it becomes apparent that it is a trick, for even if you go back to the starting point of the triangle relationship, there is no resolution; there is nothing but a void. The void is not made of nihilistic nothing, but is full of desire as the seed of creation. At this moment, the love triangle narrative disappears. A new narrative that resembles Deleuze's time image replaces it. The nine fragmented non-choronogical scenes start to reflect each other like many facets of a scattered crystal. It becomes very difficult to distinguish between the real and reflection. This new narrative makes audience have another experience theatrically different from that of the love triangle narrative.
목차
Ⅰ. 들어가는 말
Ⅱ. 시간이동 책략에 의한 편집 - 탈중심화와 시간 중심의 새로운 서사
Ⅲ. 연극적 경험과 탈 연극적 경험
Ⅳ. 나가는 말
주
인용문헌
Abstract
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