지원사업
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
오류제보하기
A Small Ball Shot Up By a Dwarf is a short story cycle by Cho Sehui, which deals with the problem of urbanization and industrialization of Korean society in 1970’s. It was adapted into play and film right after the publication of the novel, and lately(2007) into play and TV drama. This thesis deals with the adaptation from novel to play in case of A Small Ball Shot Up By a Dwarf (A Small Ball- in abbreviation) in 2007.
This novel is dramatic in the point that it has many dialogic scenes without intervention of narrator. Futhermore, there appears the form of a play such as ‘the name of a character:dialogue’. And the adaptation play takes these from the novel without change.
The play also adapts as many parts of the novel as possible, and it also takes the cross structure of past and present, reality and fantasy, kernel(main event) and satellite(sub-event). And it also inherits many characters and theme of the novel. Therefore, it can be concluded that the play is the faithful adaptation of the novel.
But the faithfulness of the novel results in excessive ideal feature and boredom instead of dramatic strain. Also it is found distortion of meaning when literally translated. These reveal that the faithfulness of the original can not be the criteria of analysing or valuing of adaptation. The analysis of adaptation is, then, the comparative narratology in the base of narrative analysis of original and adaptation genre.
In the base of this freedom of the burden in the faithfulness of the original, the transformation of context can be dealt in adapting this novel. When the play is adapted literally in the 1970’s context of the original novel, it seemed to be behind times. So keeping pace with the time the adaptation is presented needs to be considered even in the case of the intention of faithfulness to the original. Lastly, in adapting into the play, the possibility of non-verbal expression needs to be considered. In this sense, the symbol of a dwarf and the space discourse in A Ball- should be applied in this adaptation.
This novel is dramatic in the point that it has many dialogic scenes without intervention of narrator. Futhermore, there appears the form of a play such as ‘the name of a character:dialogue’. And the adaptation play takes these from the novel without change.
The play also adapts as many parts of the novel as possible, and it also takes the cross structure of past and present, reality and fantasy, kernel(main event) and satellite(sub-event). And it also inherits many characters and theme of the novel. Therefore, it can be concluded that the play is the faithful adaptation of the novel.
But the faithfulness of the novel results in excessive ideal feature and boredom instead of dramatic strain. Also it is found distortion of meaning when literally translated. These reveal that the faithfulness of the original can not be the criteria of analysing or valuing of adaptation. The analysis of adaptation is, then, the comparative narratology in the base of narrative analysis of original and adaptation genre.
In the base of this freedom of the burden in the faithfulness of the original, the transformation of context can be dealt in adapting this novel. When the play is adapted literally in the 1970’s context of the original novel, it seemed to be behind times. So keeping pace with the time the adaptation is presented needs to be considered even in the case of the intention of faithfulness to the original. Lastly, in adapting into the play, the possibility of non-verbal expression needs to be considered. In this sense, the symbol of a dwarf and the space discourse in A Ball- should be applied in this adaptation.
목차
1. 서론
2. 원작소설이 지닌 극적 성격
3. 원작과 각색 희곡의 비교
4. ‘충실한 각색’에 대한 성찰과 〈난.쏘.공〉 각색에 대한 몇 가지 제안
5. 결론
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