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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.8
- 수록면
- 147 - 174 (28page)
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This paper discusses the strategies of Queer Theatre shown in Small Domestic Acts, the work of Joan Lipkin, a lesbian dramatist who is currently active in the central part of the United States. The play deals with the life of one lesbian couple called Frankie and Sheila and triggers a gender dispute in the audience by having the lesbian couple communicate with a heterosexual couple. Lipkin suggests, through such specific dramatic methodology, that sexually-related political and ideological themes are social construct. Queer Theatre's dramatic devices set off the political theme of the play. And they also accept and react against the dramatic tradition.
Accepting dramatic tradition means introducing metadramatic elements similar to Luigi Pirandello's style of work. Reacting against it means seeking a new relationship with the audience by breaking up typical Aristotelian dramatic structure. Lipkin gives the audience a sense of responsibility using subtle theatrical strategy by including them in the communication between the lesbian and heterosexual couple. This dramatic device is one excellent instrument used to introduce political and social perspectives on gender and family.
Representation of Queer Theatre in Small Domestic Acts shows more powerful methodology than feminist theatres. The biggest difference is that lesbian theatre highlights gender identity and body which is the place for overthrowing and representation of alternative gender identity.
The play suggests that there are other roles or identities, outside of the norm. By breaking up the traditional concept of family. Frank and Sheila, a heterosexual couple in the working class, and Frankie and Sheila, a lesbian couple, through their meeting, actually take interest in each other. When dealing with lesbians' lives Lipkin does not speak unilaterally, but focus on trying to understand their positions in society.
Lipkin has contributed greatly to society not only by awakeni-ng the audience to their typical prejudices about sexuality but also by changing their viewpoint. She calls her own mission as "an anti-cultural and anti-theatrical erasing act of having heard stories that should not be heard." Through specific dramatic devices, Lipkin teaches her audiences to learn and tolerate mutual differences.
Accepting dramatic tradition means introducing metadramatic elements similar to Luigi Pirandello's style of work. Reacting against it means seeking a new relationship with the audience by breaking up typical Aristotelian dramatic structure. Lipkin gives the audience a sense of responsibility using subtle theatrical strategy by including them in the communication between the lesbian and heterosexual couple. This dramatic device is one excellent instrument used to introduce political and social perspectives on gender and family.
Representation of Queer Theatre in Small Domestic Acts shows more powerful methodology than feminist theatres. The biggest difference is that lesbian theatre highlights gender identity and body which is the place for overthrowing and representation of alternative gender identity.
The play suggests that there are other roles or identities, outside of the norm. By breaking up the traditional concept of family. Frank and Sheila, a heterosexual couple in the working class, and Frankie and Sheila, a lesbian couple, through their meeting, actually take interest in each other. When dealing with lesbians' lives Lipkin does not speak unilaterally, but focus on trying to understand their positions in society.
Lipkin has contributed greatly to society not only by awakeni-ng the audience to their typical prejudices about sexuality but also by changing their viewpoint. She calls her own mission as "an anti-cultural and anti-theatrical erasing act of having heard stories that should not be heard." Through specific dramatic devices, Lipkin teaches her audiences to learn and tolerate mutual differences.
목차
Ⅰ. 서론
Ⅱ. 퀴어, 페미니즘, 그리고 레즈비언 / 게이연극의 상호성
Ⅲ. 유형(type)과 전형적인 유형(stereo type)의 긴장관계
Ⅳ. 메타연극적 서사극 구조의 변용
Ⅴ. 결론
인용문헌
Abstract
참고문헌 (18)
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