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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.12
- 수록면
- 137 - 169 (33page)
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초록· 키워드
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This paper is concerned with the relationship of Jan Steen’s genre paintings and the 17th century Dutch play. Jan Steen is well known for his narrative, crowded scenes represented in comic and disorderly manners. Of these, several themes in particular show close reliance on the stages of the time like those of the rhetoricianschamber, professional theater of Amsterdam, and Commedia dell’ arte. It is examined in this paper how these theatrical elements are adapted by Steen in his genre pictures.
First of all, it can be observed in Steens paintings of the rhetoricianschamber that he was well aware of their activities. The rhetoricianschamber of the Netherlands was especially interested in poetics and play as the means of education for the ordinary people, and Steen seems to have shared the same concern. For he acts repeatedly as a fool in one of his portraits and other genre scenes such as ‘doctor’s visit’ and those dealing with the theme of the prodigal son. His role as a fool can be recognized not only through his costumes, but is characterized as well by his laughing face looking directly to the viewer. Steen thus adopted the theatrical technique effectively to deliver the morals of the play to the audience in an amusing way.
Steen’s genre pictures are also dependent in its contents on the professional stage of the time, as can be observed in his paintings of the ‘doctor’s visit’ or the theme of the prodigal son. The comic character of his pictures is further strengthened by exaggerated gesture and facial expression, disorderly arranged interiors, and above all by the visualization of verbal themes. This inclination to proverbs and sayings as well as pun is also related to the poetics and play of the rhetoricianschamber. It results then in the narrative effect, which is also increased by stock characters and various symbolic motifs to stress the teachings of the visual story. Particularly in the paintings of the prodigal son Steen presents himself as the main figure, and this endows the scene with the sense of reality. This mode of representation can also be compared to the plays of the time in which the main character speaks directly to the spectator.
Hence, Steen relied in various ways on the 17th century Dutch dramas. In short, having direct and indirect contact with the stages of the time, Steen borrowed theatrical techniques and expressions which he thought would be of great effect for the purpose of the painting, i.e. giving pleasure and instruction at the same time. Being fond of comic pictures, Steen especially seems to have a great interest in the farces of the rhetoricianschamber. For he still uses the fool of the rhetoricians play even in his scenes the theme of which originated from the professional theater. However, in what grade Steen adopted in his genre paintings the ideas and modes of specific plays should be further investigated on the basis of the history of Dutch theater.
First of all, it can be observed in Steens paintings of the rhetoricianschamber that he was well aware of their activities. The rhetoricianschamber of the Netherlands was especially interested in poetics and play as the means of education for the ordinary people, and Steen seems to have shared the same concern. For he acts repeatedly as a fool in one of his portraits and other genre scenes such as ‘doctor’s visit’ and those dealing with the theme of the prodigal son. His role as a fool can be recognized not only through his costumes, but is characterized as well by his laughing face looking directly to the viewer. Steen thus adopted the theatrical technique effectively to deliver the morals of the play to the audience in an amusing way.
Steen’s genre pictures are also dependent in its contents on the professional stage of the time, as can be observed in his paintings of the ‘doctor’s visit’ or the theme of the prodigal son. The comic character of his pictures is further strengthened by exaggerated gesture and facial expression, disorderly arranged interiors, and above all by the visualization of verbal themes. This inclination to proverbs and sayings as well as pun is also related to the poetics and play of the rhetoricianschamber. It results then in the narrative effect, which is also increased by stock characters and various symbolic motifs to stress the teachings of the visual story. Particularly in the paintings of the prodigal son Steen presents himself as the main figure, and this endows the scene with the sense of reality. This mode of representation can also be compared to the plays of the time in which the main character speaks directly to the spectator.
Hence, Steen relied in various ways on the 17th century Dutch dramas. In short, having direct and indirect contact with the stages of the time, Steen borrowed theatrical techniques and expressions which he thought would be of great effect for the purpose of the painting, i.e. giving pleasure and instruction at the same time. Being fond of comic pictures, Steen especially seems to have a great interest in the farces of the rhetoricianschamber. For he still uses the fool of the rhetoricians play even in his scenes the theme of which originated from the professional theater. However, in what grade Steen adopted in his genre paintings the ideas and modes of specific plays should be further investigated on the basis of the history of Dutch theater.
목차
Ⅰ. 머리말
Ⅱ. 얀 스테인과 수사가(修辭家)협회
Ⅲ. 희극배우로서의 스테인
Ⅳ. ‘의사왕진’ 도상과 어릿광대 스테인
Ⅴ. 탕아로서의 스테인
Ⅵ. 맺음말
참고문헌
Abstract
「얀 스테인과 17세기 네덜란드의 연극」에 대한 질의(고종희)
고종희 선생님의 질의에 대한 답변(이한순)
참고문헌 (0)
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