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- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2016.3
- 수록면
- 73 - 96 (24page)
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Lee YoonTaek can be regarded as the representative playwright and director of Korea in adapting Shakespeare’s works with Korean traditional style. He, in his plays and performances, has tried to restore traditional theatre by connecting Shakespeare works with Gut and traditional entertainments. Lee YounTaek has supported Oh TaeSuk’s theatrical movement of “Korean Racial Theatre” by announcing that Korean theatre should restore the ‘Korean-ness’ in producing performances on the stage. This ‘Korean-ness’ means the original emotion, rhythm and movement of Koreans on the theatrical performance. This means his positive attitude of agreement, inheritance and cooperation for Oh TaeSuk’s theatrical movement.
Lee YounTaek has continued to experiment in adapting Shakespeare’s Hamlet in his own style of direction by means of ‘Gut.’ He introduces supernatural ‘inspiration’ of Gut in several scenes to cure madness or psychological instability, which can create the uniqueness of his theatrical world. And he tries to overcome the nihilistic result of the last scene in Shakespeare’s original works in which most of major characters should die without any vision of salvation. Instead, Lee lets Hamlet rise to heaven by tearing white textile ritually, the symbol of death, after his death as the scapegoat for the purgation of the world. The audience can feel successful exorcisement of skillful Gut by watching Hamlet’s role as a Korean shaman(Mudang) in the last scene.
Lee endeavors to use his dialectical method in connecting the tradition and the modern, the Oriental and the Western, and Shakespeare and the traditional Gut. By doing so, Lee is able to produce the synthesis from the mixture of two different elements in his performance of MunJeInGan YeonSan. He inserts a lot of motifs of Shakespeare works such as Hamlet and Macbeth. Different from Hamlet, MunJeInGan YeonSan is composed of historical anecdotes of King YeonSan which reminds us of similar motifs of Hamlet and Macbeth. YeonSan, by using Guts, tries to solve his mother’s regrets by which she could not leave for the world of death. Accordingly, the audience can enjoy opposite elements simultaneously, which can create the synthesis in theatrical effects dialectically. Also, Lee describes YeonSan as extremely decadent character who searches for murder and sexuality to the limit without any vision of salvation. YeonSan’s nihilistic attitude in contrast with Hamlet’s positive one, can be said to create modernity by showing destructive ending in spite of its major structure of traditional Gut.
Lee YounTaek has continued to experiment in adapting Shakespeare’s Hamlet in his own style of direction by means of ‘Gut.’ He introduces supernatural ‘inspiration’ of Gut in several scenes to cure madness or psychological instability, which can create the uniqueness of his theatrical world. And he tries to overcome the nihilistic result of the last scene in Shakespeare’s original works in which most of major characters should die without any vision of salvation. Instead, Lee lets Hamlet rise to heaven by tearing white textile ritually, the symbol of death, after his death as the scapegoat for the purgation of the world. The audience can feel successful exorcisement of skillful Gut by watching Hamlet’s role as a Korean shaman(Mudang) in the last scene.
Lee endeavors to use his dialectical method in connecting the tradition and the modern, the Oriental and the Western, and Shakespeare and the traditional Gut. By doing so, Lee is able to produce the synthesis from the mixture of two different elements in his performance of MunJeInGan YeonSan. He inserts a lot of motifs of Shakespeare works such as Hamlet and Macbeth. Different from Hamlet, MunJeInGan YeonSan is composed of historical anecdotes of King YeonSan which reminds us of similar motifs of Hamlet and Macbeth. YeonSan, by using Guts, tries to solve his mother’s regrets by which she could not leave for the world of death. Accordingly, the audience can enjoy opposite elements simultaneously, which can create the synthesis in theatrical effects dialectically. Also, Lee describes YeonSan as extremely decadent character who searches for murder and sexuality to the limit without any vision of salvation. YeonSan’s nihilistic attitude in contrast with Hamlet’s positive one, can be said to create modernity by showing destructive ending in spite of its major structure of traditional Gut.
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Abstract
참고문헌 (33)
참고문헌 신청
김동욱. 글로컬화로 완성된 햄릿: 이윤택이 연출한 햄릿(1996-2005) 공연연구 . Shakespeare Review 44.4 (2008): 717-51.
김병모. 한민족의 구성 . 한민족 공동체 창간호, 1993.
김승미. 오태석의 연극세계 . 공연과 리뷰. 1996 봄, 140-47.
김윤희. 문학 작품에 나타난 무굿의 치료적 성격: 김동리의 을화, 이윤택의 오구, 죽음의 형식을 중심으로 . 문학과 종교 16.3 (2011): 23-46.
김정숙. 이윤택의 연극—위기(crisis)의 미학과 담론성 . 한국 연극학 48 (2012):225-60.
김병모. 한민족의 구성 . 한민족 공동체 창간호, 1993.
김승미. 오태석의 연극세계 . 공연과 리뷰. 1996 봄, 140-47.
김윤희. 문학 작품에 나타난 무굿의 치료적 성격: 김동리의 을화, 이윤택의 오구, 죽음의 형식을 중심으로 . 문학과 종교 16.3 (2011): 23-46.
김정숙. 이윤택의 연극—위기(crisis)의 미학과 담론성 . 한국 연극학 48 (2012):225-60.
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UCI(KEPA) : I410-ECN-0101-2016-840-002737945