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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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In Listening, Edward Albee tried quite obviously to create a carefully prepared but nonetheless grisly tragic effect. It was designed as a companion piece to Counting the Ways. It was first commissioned for radio performance, but that didn't mean it couldn't be staged. The BBC commission gave Albee the chance of writing for a medium suited to his talent and corresponding to his fascination with the role of language in drama. He took up the challenge of writing experimentally: about listening. Beyond the stimulus of writing for the ears of his audience, Albee has adopted an inquiring attitude to the new medium.
The play takes the form of a series of scenes introduced by an external voice, which calls a number. This intrusion of the authors voice emphasises the role of the medium in shaping the experience of the listener. As the impression of the scene is established, the voice breaks in and numbers the items of the play; at one point the characters even debate the correctness of the numbering. While this involves the audience in the processes of constructing the play, the comfortable illusion is broken and the listener is aware of the play as a performance. Not real life-but intense and convincing.
The relationship of the characters are never declared; what they have meant to one another in the past is never confirmed; and the stories they tell are questionable. The listener makes meanings as far as he may out of the words and sounds he hears; he constructs a reality-and is reminded that it is fictitious by the author's voice, or by what seem like cryptic remarks in the text.
Abandoned in spare, unlocalized settings, removed from conventional dramatic tensions and clashes, these nameless characters engage in ritualistic word games and clever verbal counterpoint. Relying more on the methods of the poet than those of the playwright, Albee builds these chamber dramas out of a few scattered images and phrases; rhythm, repetition, pattern, counterpoint, replace traditional dramatic narrative.
Albee uses simple words, which are stated and re-stated to create a ceremonial atmosphere; the recurrent exchange between the Man and the Woman becomes a kind of courtship dance, a coy romantic ritual.
The Girl is a pawn, or sacrificial victim, in the game of reminiscence played at the fountain by the Man and the Woman. The setting, and specifically the spigot of the fountain in the indefinitely specified head shape of a monster, satyr, or deity, hints at a ritualistic pagan sacrifice of a virgin. By taking her own life, the Girl emerges as a kind of existential heroine in a play on some od Albee's favorite themes.
Listening which is generally regarded as very difficult to understand seems to be the play pointing to the world like a dizzy secret ritual which sets foot in the middle of collapse to obstruct what is called collapse and challenges the utmost limits of existence to restore the feeling of existence.
The play takes the form of a series of scenes introduced by an external voice, which calls a number. This intrusion of the authors voice emphasises the role of the medium in shaping the experience of the listener. As the impression of the scene is established, the voice breaks in and numbers the items of the play; at one point the characters even debate the correctness of the numbering. While this involves the audience in the processes of constructing the play, the comfortable illusion is broken and the listener is aware of the play as a performance. Not real life-but intense and convincing.
The relationship of the characters are never declared; what they have meant to one another in the past is never confirmed; and the stories they tell are questionable. The listener makes meanings as far as he may out of the words and sounds he hears; he constructs a reality-and is reminded that it is fictitious by the author's voice, or by what seem like cryptic remarks in the text.
Abandoned in spare, unlocalized settings, removed from conventional dramatic tensions and clashes, these nameless characters engage in ritualistic word games and clever verbal counterpoint. Relying more on the methods of the poet than those of the playwright, Albee builds these chamber dramas out of a few scattered images and phrases; rhythm, repetition, pattern, counterpoint, replace traditional dramatic narrative.
Albee uses simple words, which are stated and re-stated to create a ceremonial atmosphere; the recurrent exchange between the Man and the Woman becomes a kind of courtship dance, a coy romantic ritual.
The Girl is a pawn, or sacrificial victim, in the game of reminiscence played at the fountain by the Man and the Woman. The setting, and specifically the spigot of the fountain in the indefinitely specified head shape of a monster, satyr, or deity, hints at a ritualistic pagan sacrifice of a virgin. By taking her own life, the Girl emerges as a kind of existential heroine in a play on some od Albee's favorite themes.
Listening which is generally regarded as very difficult to understand seems to be the play pointing to the world like a dizzy secret ritual which sets foot in the middle of collapse to obstruct what is called collapse and challenges the utmost limits of existence to restore the feeling of existence.
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