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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한국현대영미드라마학회 현대영미드라마 현대영미드라마 제17권 제1호
발행연도
2004.4
수록면
53 - 65 (13page)

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초록· 키워드

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Happy Days is a kind of monodrama. By fabricating the imaginary stage, Winnie invokes on-lookers, characters whose conversations are actually transpiring in her mind. Her theatrical gestures create three different levels of fictional/real audience. ⅰ)Mr. and Mrs. Cooker and Shower; ⅱ)Willie on stage listening to his wife's monologue with patience; ⅲ)the real audience. The aesthetics of this dramatic piece is wholly dependent upon the tension generated in the conflict and clash between the corresponding three different dimensions of existence: ⅰ)external life; ⅱ)inner life; ⅲ)the theatricality of life.
The crux of this play lies in the textual fissure where the theatricality of human existence oozes out. The powerful strategy of stage is to foreground the playfulness in the guise of both theater as ludus and theatrum mundi. Like woman warrior Winnie braves intense heat and light and gravity which look insurmountable; however, she is "not there" where something vital is happening like Hamm. She is no more than an actress on this stage as we roam and fret about on this world stage as actor/actress in the dark. We also ramble and cite from axioms and allusions from classical literature without being awakened to their significance relevant to our life in its genuine sense. In this light, Winnie is our self-portrait hewn out of rougher marble that is us.

목차

Ⅰ. Introduction
Ⅱ. Theatrum mundi / theater as ludus
Ⅲ. Conclusion
Works Cited
Abstract

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