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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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Considering the oppressive system and ruling patriarchal ideology deeply rooted in the society, Caryl Churchill, a British Woman playwright, has consistently dealt with the consciousness of feminism by using various dramaturgies.
This thesis examines how the playwright's social concern about feminism and socialism leads her to reshape conventional forms in theatre. Churchill's plays presume that the aesthetic and the political are intrinsically linked, and that changes in one realm can lead to a rethinking of conventions in the other. Her concern always remains with women's oppression under a patriarchal society. The technique that she exploits through effective usages of language and dramaturgy conveys her favorite themes and is suitable to her plot structure.
Top Girls establishes Churchill's reputation for both aesthetic achievement and commercial success. In Top Girls, Churchill's theatrical imagination grapples with images of female success from the past and the present as a means of further exploring the women's real situation. And seven female cast members play a total of sixteen different characters, five of whom do not exist in the present. This play breaks the conventional methods of portraying life on the stage, and suggests new ways of seeing reality by proceeding the action anti-chronologically.
Churchill leads the audience to question the recognized concept of gender and history. Through her works, Churchill intends to suggest that oppression is still a real problem for women. She also seriously raises the mandatory aspects of social changes and its following possibility for human equality in the world.
In conclusion, as for Churchill, the present moment is not divorced from the past, or indeed the future; past and future overlap the present and at times all three exist together. We are able to look forward to much more innovative and fluid theatre in the future thanks to Churchill's innovative dramaturgy and theatre techniques.
This thesis examines how the playwright's social concern about feminism and socialism leads her to reshape conventional forms in theatre. Churchill's plays presume that the aesthetic and the political are intrinsically linked, and that changes in one realm can lead to a rethinking of conventions in the other. Her concern always remains with women's oppression under a patriarchal society. The technique that she exploits through effective usages of language and dramaturgy conveys her favorite themes and is suitable to her plot structure.
Top Girls establishes Churchill's reputation for both aesthetic achievement and commercial success. In Top Girls, Churchill's theatrical imagination grapples with images of female success from the past and the present as a means of further exploring the women's real situation. And seven female cast members play a total of sixteen different characters, five of whom do not exist in the present. This play breaks the conventional methods of portraying life on the stage, and suggests new ways of seeing reality by proceeding the action anti-chronologically.
Churchill leads the audience to question the recognized concept of gender and history. Through her works, Churchill intends to suggest that oppression is still a real problem for women. She also seriously raises the mandatory aspects of social changes and its following possibility for human equality in the world.
In conclusion, as for Churchill, the present moment is not divorced from the past, or indeed the future; past and future overlap the present and at times all three exist together. We are able to look forward to much more innovative and fluid theatre in the future thanks to Churchill's innovative dramaturgy and theatre techniques.
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