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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2014.12
- 수록면
- 371 - 395 (25page)
이용수
초록· 키워드
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This paper investigates how Foote’s plays succeed Chekhov’s dramatic poetics. I think that their plays are witty, not comic, and though their characters talk at length, it very often appears on its surface to be piffle. Chekhov has structured his plays so that every reaction is set against an obliquely conflicting reaction. Similarly, Foote engages his audience with a troubling but provocative sense of mystery. They explored why some human spirits are able to survive tragedies, while others are utterly destroyed. Often referred to as the American Chekhov because of his dark humor and his compassion for flawed characters, Foote locates the small victories and defeats of everyday life in a spiritual and historical context.
With Foote as with Chekhov, this paper emphasizes we have to listen between the lines and pay attention to the effect of the behind the scenes to hear the truth. The principal recurring motif in their plays is the pause. Static and nonprogressional, and comparable to the rest in musical composition, the pause is an essential and integral element of structure which effectively stalls the advancement of thought, action, and time in the theater. Pauses have the effect of speeding up or slowing down the tempo of the play. While realistic in their very nature, pauses can be seen as holes in the lattice of life, as breaks in fabric of the text, which allow the transcendent undercurrents of human existence to come forth from just below the surface of the ordinariness of life portrayed.
Also, unseen events and characters act as sources of dramatic tension. “Despite their absence these unseen characters act as driving forces of the dramatic onstage action. These absent characters function as a proximate cause for the onstage action.” In other words, although these offstage characters are not seen in most events of the story, they still serve a strong purpose. They can be used effectively as methods of creating suspense, terror and anticipation in situation. And they points to an inner conflict in characters.
With Foote as with Chekhov, this paper emphasizes we have to listen between the lines and pay attention to the effect of the behind the scenes to hear the truth. The principal recurring motif in their plays is the pause. Static and nonprogressional, and comparable to the rest in musical composition, the pause is an essential and integral element of structure which effectively stalls the advancement of thought, action, and time in the theater. Pauses have the effect of speeding up or slowing down the tempo of the play. While realistic in their very nature, pauses can be seen as holes in the lattice of life, as breaks in fabric of the text, which allow the transcendent undercurrents of human existence to come forth from just below the surface of the ordinariness of life portrayed.
Also, unseen events and characters act as sources of dramatic tension. “Despite their absence these unseen characters act as driving forces of the dramatic onstage action. These absent characters function as a proximate cause for the onstage action.” In other words, although these offstage characters are not seen in most events of the story, they still serve a strong purpose. They can be used effectively as methods of creating suspense, terror and anticipation in situation. And they points to an inner conflict in characters.
목차
I. 서론
II. ‘사이’와 ‘마주침’의 미학
III. 보이지 않는 인물과 무대 뒤 효과
IV. 나오며
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UCI(KEPA) : I410-ECN-0101-2016-842-001022729