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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.3
- 수록면
- 101 - 133 (33page)
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초록· 키워드
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In the eyes of the post-1968 generation of English political dramatists, radicalised in turbulent political movements in the late 1960s, Shakespeare was identified with the political right's powerful ideological weapon. Shakespeare and his work became a political, cultural site where various ideologies are fiercely produced and consumed. The socially committed dramatists were aware of the conservative appropriation of Shakespeare for the reinforcement and maintenance of the established social order, ranging from educational system to ideas of national identity. The die-hard readings of Shakespeare had given special attention to the concepts of an essentially unchanging human nature and apolitically impartial, universal truth, thus contributing to the preservation of a given social order.
Three political dramatists-Howard Brenton, Arnold Wesker and Edward Bond-attempt to undermine the idealised perceptions of Shakespeare as a universal cultural icon whose works rise above the limits of the ideological configurations of any specific time. Their attempts to re-read and adapt Shakespeare's plays are declared by themselves as an overtly political project: to free Shakespeare's plays from their customary and dominant ideological implications and to make them more applicable to the radical political struggles of the 1970s in terms of race and class.
Insisting upon their own conscious, political identities, the three dramatists do not argue against the inevitable fact of Shakespeare's plays being appropriated. Their constant focus is upon countering the ideological and political designs behind most modem abuses. Brenton's 『Measure For Measurer』, Wesker's 『Shylock』, Bond's 『Lear』 are a criticism of the cumulative, conservative values imposed on Shakespeare's plays. Brenton changes the Shakespearean text which implies that a ruler gains the rewards of his virtue and mercy in a happy ending, into a text which disputes the "obscene parades" of the ruling class and questions the legitimatized power structures. As a violent, emotional assault on identifiable contemporary figures, his propagandist adaptation presents Britain's political scene as an area of corruption and debasement, inspiring a strong sense of outrage in his audience. Popular, recurrent mystifications associated with anti-Semitism are deconstructed in Wesker's play where the dichotomy of good Antonio and vile Shylock is collapsed. His idealist Shylock, who places his own egalitarian moral law above Venice's oppressive ruling ideology, is presented as a tragic hero. Bond's 『Lear』, where the king accepts his political responsibility and commits himself to action, is a corrective to 『King Lear』. Bond's audience are not allowed to be content with the same sense of irreversible finality that they usually seek from classical tragedy. Instead, they are forced to constantly look for the alternatives to the repressive society trapped in an aggressive chain of revolution and anti-revolution. Employing the audience's vestigial memory of Shakespeare's plays and at the same time, countering usual readings established through literary and theatrical traditions, their adaptations stand up to the mythologies of the past which prevail as the culture of the present.
Three political dramatists-Howard Brenton, Arnold Wesker and Edward Bond-attempt to undermine the idealised perceptions of Shakespeare as a universal cultural icon whose works rise above the limits of the ideological configurations of any specific time. Their attempts to re-read and adapt Shakespeare's plays are declared by themselves as an overtly political project: to free Shakespeare's plays from their customary and dominant ideological implications and to make them more applicable to the radical political struggles of the 1970s in terms of race and class.
Insisting upon their own conscious, political identities, the three dramatists do not argue against the inevitable fact of Shakespeare's plays being appropriated. Their constant focus is upon countering the ideological and political designs behind most modem abuses. Brenton's 『Measure For Measurer』, Wesker's 『Shylock』, Bond's 『Lear』 are a criticism of the cumulative, conservative values imposed on Shakespeare's plays. Brenton changes the Shakespearean text which implies that a ruler gains the rewards of his virtue and mercy in a happy ending, into a text which disputes the "obscene parades" of the ruling class and questions the legitimatized power structures. As a violent, emotional assault on identifiable contemporary figures, his propagandist adaptation presents Britain's political scene as an area of corruption and debasement, inspiring a strong sense of outrage in his audience. Popular, recurrent mystifications associated with anti-Semitism are deconstructed in Wesker's play where the dichotomy of good Antonio and vile Shylock is collapsed. His idealist Shylock, who places his own egalitarian moral law above Venice's oppressive ruling ideology, is presented as a tragic hero. Bond's 『Lear』, where the king accepts his political responsibility and commits himself to action, is a corrective to 『King Lear』. Bond's audience are not allowed to be content with the same sense of irreversible finality that they usually seek from classical tragedy. Instead, they are forced to constantly look for the alternatives to the repressive society trapped in an aggressive chain of revolution and anti-revolution. Employing the audience's vestigial memory of Shakespeare's plays and at the same time, countering usual readings established through literary and theatrical traditions, their adaptations stand up to the mythologies of the past which prevail as the culture of the present.
목차
Ⅰ. 들어가는 글
Ⅱ. 선전 선동극으로서의 브렌튼의 『자에는 자로』(Measure for Measure, 1972)
Ⅲ. 샤일록의 탈신화화로서의 웨스커의 『샤일록』(Shylock, 1976)
Ⅳ. “인내에서 행동으로” : 본드의 『리어』(Lear, 1970)
Ⅴ. 나가는 말
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