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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2007.9
- 수록면
- 519 - 546 (28page)
이용수
초록· 키워드
오류제보하기
Since the New Globe Theatre opened in 1996, they have used the yard as an acting area or entrances. Even though the authenticity of using the yard is disputable, nobody denies that the yard must be a very effective tool for performing Shakespeare at the Globe Theatre.
The yard is an essential part of traditional Korean theatre, called 'talchum (mask dance)' or 'talnori (mask play).' The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as players, or acting as if they were some of the audience. The theatrical style of using the yard has much influenced the modem theatre of Korea. And some Korean directors, such as Oh Tae-suk, Yang Jung-ung, and Lee Hyon-u, have applied the yard techniques to their Shakespearean productions.
Yang Jung-ung's A Midsummer Night's Dream used the yard exactly the same way as talchum performances. Oh Tae-suk's Romeo and Juliet adopted the acting style of talchum players, they would face the audience and speak toward the audience as they act. And Lee Hyon-u's Coriolanus set up 15 television monitors on the stage in order to let the audience see themselves as part of the play, and made the underground entrance between the auditorium and the forestage in order to give the illusion of players appearing from the audience and disappearing into the audience. Sometimes the actors actually became part of the audience thus including them in the performance both orally and physically like traditional Korean theatre.
Korean Shakespearean productions, which use the yard actively, can be more evidence that the yard must be an effective tool for Shakespeare, not only at the Globe Theatre but also at any kind of theatres of today. No one knows whether Shakespeare actually used the yard or not. But the fact that many Shakespearean productions have used the yard successfully, means that Shakespeare's texts themselves have enough room for the yard.
The yard is an essential part of traditional Korean theatre, called 'talchum (mask dance)' or 'talnori (mask play).' The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as players, or acting as if they were some of the audience. The theatrical style of using the yard has much influenced the modem theatre of Korea. And some Korean directors, such as Oh Tae-suk, Yang Jung-ung, and Lee Hyon-u, have applied the yard techniques to their Shakespearean productions.
Yang Jung-ung's A Midsummer Night's Dream used the yard exactly the same way as talchum performances. Oh Tae-suk's Romeo and Juliet adopted the acting style of talchum players, they would face the audience and speak toward the audience as they act. And Lee Hyon-u's Coriolanus set up 15 television monitors on the stage in order to let the audience see themselves as part of the play, and made the underground entrance between the auditorium and the forestage in order to give the illusion of players appearing from the audience and disappearing into the audience. Sometimes the actors actually became part of the audience thus including them in the performance both orally and physically like traditional Korean theatre.
Korean Shakespearean productions, which use the yard actively, can be more evidence that the yard must be an effective tool for Shakespeare, not only at the Globe Theatre but also at any kind of theatres of today. No one knows whether Shakespeare actually used the yard or not. But the fact that many Shakespearean productions have used the yard successfully, means that Shakespeare's texts themselves have enough room for the yard.
목차
Ⅰ. 서론
Ⅱ. 글롭극장의 마당 사용 방식
Ⅲ. 한국 전통극의 마당 사용
Ⅳ. 한국 셰익스피어 극의 마당 사용
Ⅴ. 결론
인용문헌
Abstract
참고문헌 (16)
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