개인구독
소속 기관이 없으신 경우, 개인 정기구독을 하시면 저렴하게
논문을 무제한 열람 이용할 수 있어요.
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.
이 논문의 연구 히스토리 (2)
- 이 논문의 후속연구가 궁금하신가요?
- 연관 학술논문 또는 학술발표를 통해 보다 발전된 연구결과를 확인하실 수 있습니다.
- 이 논문의 연구 히스토리 확인하기
초록· 키워드
오류제보하기
Blok's lyrical drama 'Balaganchik' which is dedicated to V. E. Meyerhold is an experimental work for a new language and form in the theatre. This work and Blok's concept of lyrical drama are to be the very manifestation of the symbolists' ambition to find a new theatrical form. and as such played a vital role for the road to Meyerhold theatre of the grotesque.
This play, as it is influenced by the Italian theatre Commedia dell 'arte. pivots on the triangle relationship of Piero-Kolombina-Arlekin. And at the same time we can recognize the puppet-show tradition of Russia. 'Balagan' from the clowns' costumes, symbolic colours of amorosi's clothes. the gestures or props of actors. and episodic settings.
Along with these Italian and Russian folk play elements. Balaganchik also incorporated into the text the contemporary symbolist taste of the West European and Scandinavian theatres. Such elements in the playas the words of Piero from Blok's symbolist poetry. the introduction of mistiki, motifs of double and the use of characters from the medieval chivalry romances or legends. all clearly show that it shares much in common with the symbolist play.
Besides, we can also notice the chorus and the writer as one of the characters in the playas in the Greek tradition. The writer here represents the realist tradition of the theatre.
All these elements of different cultural backgrounds. inextricably interwoven. stand in striking contrast or coexist all through the text of the play. Out of this comes the anbivalentnost' between comic and tragic elements. or between pros and contras towards certain theatrical tradition. It can ridicule the old values. upset the traditional viewpoints. and make to see things anew. Folk play tradition. realism and symbolism. all together, are melted and reborn in the play. This is the beginning of the grotesque theatre Meyerhold had on mind. and shares much in common with Bakhtin s concept of grotesque.
In this play of the grotesque we can also witness the symptoms of the forthcoming tradition of Soviet therate from Meyerhold. through Arbuzov, and up to Vampilov and Petrushevskaya.
This play, as it is influenced by the Italian theatre Commedia dell 'arte. pivots on the triangle relationship of Piero-Kolombina-Arlekin. And at the same time we can recognize the puppet-show tradition of Russia. 'Balagan' from the clowns' costumes, symbolic colours of amorosi's clothes. the gestures or props of actors. and episodic settings.
Along with these Italian and Russian folk play elements. Balaganchik also incorporated into the text the contemporary symbolist taste of the West European and Scandinavian theatres. Such elements in the playas the words of Piero from Blok's symbolist poetry. the introduction of mistiki, motifs of double and the use of characters from the medieval chivalry romances or legends. all clearly show that it shares much in common with the symbolist play.
Besides, we can also notice the chorus and the writer as one of the characters in the playas in the Greek tradition. The writer here represents the realist tradition of the theatre.
All these elements of different cultural backgrounds. inextricably interwoven. stand in striking contrast or coexist all through the text of the play. Out of this comes the anbivalentnost' between comic and tragic elements. or between pros and contras towards certain theatrical tradition. It can ridicule the old values. upset the traditional viewpoints. and make to see things anew. Folk play tradition. realism and symbolism. all together, are melted and reborn in the play. This is the beginning of the grotesque theatre Meyerhold had on mind. and shares much in common with Bakhtin s concept of grotesque.
In this play of the grotesque we can also witness the symptoms of the forthcoming tradition of Soviet therate from Meyerhold. through Arbuzov, and up to Vampilov and Petrushevskaya.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
참고문헌
Abstraction
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
메이에르홀드의 『발라간칙』: 새로운 연극을 향한 메이에르홀드의 시도
외국학연구
2013 .01
-
한국연극사 서술의 반성과 과제 : 시대구분과 장르구분을 중심으로
국어문학
2008 .03
-
60/70년대 한국의 독일 희곡 소용 - 경제개발, 유신정국과 독일 연극
독일어문학
2004 .01
-
전통극과 사실주의: 한국 근대극 운동 지도자들의 인식
외국문학연구
2005 .11
-
‘창작 인큐베이팅 프로젝트’를 통한 청소년희곡 창작 사례
아동청소년문학연구
2013 .06
-
자아인식을 위한 교육연극 연행 방법 탐구 : ‘비가시적 연극’ 기법을 활용하여
국어교육연구
2008 .08
-
History of the Korean Theatre : Transitional Period Leading to the Modern Theatre 1902-1919
International Journal of Korean History
2003 .08
-
한국근대연극과 미디어의 관련 양상 - 1920년대 『조선일보』를 중심으로 -
한국현대문학연구
2005 .06
-
Theatre of the Audience : English Early Modern Theatre and Korean Ground Theatre
동서비교문학저널
2009 .12
-
No Tradition of Drama
Korea Journal
1970 .01
-
Folk Drama and Its Tradition
Korea Journal
1970 .05
-
국민극(國民劇)에 대한 지향, 극예술연구회의 탄생
국어국문학
2014 .03
-
Korean Traditional Theatre and Madanggŭk Theatre
Korea Journal
1997 .09
-
On the Traditional Korean Puppet Theatre
Korea Journal
1981 .01
-
From West to Japan: Intercultural Endeavors in the Japanese Shingeki Movement
동서비교문학저널
2008 .06
-
러시아 상징주의의 생예술 이념 (Ⅰ) : 알렉산드르 블로크
노어노문학
2016 .06
-
메이예르홀트의 연기론: 미학적 특성과 그 무대 실현
슬라브硏究
2019 .01
-
일제 말기 국민연극의 존재 형식과 공연 구조
한국현대문학연구
2007 .12
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-892-014881695