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논문 기본 정보

자료유형
학술저널
저자정보
나진환 (성결대학교)
저널정보
한국연극교육학회 연극교육연구 연극교육연구 제33권 제33호
발행연도
2018.1
수록면
215 - 241 (27page)

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초록· 키워드

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This thesis is about the empirical knowledge, which is one of the important foundations of the study of performance called “Ethnoscenology”. It is a research on the special characteristics of the internal process in the unceasing practical research by myself, the researcher. In this thesis, it is intended to centrally deal with Pinter's ≪Ashes to Ashes≫ and Maupassant's ≪The Orla≫, which are on the extension lines of the series of the tasks in the front which reveal the special features of the directing aesthetics of myself, the writer. Or, in other words, regarding the methods of the visualizations of the texts with the two aspects that are different from each other, which I, the researcher, had directed, it is intended to take a look regarding the specific methods of the visualizations by being centered on the texts, Pinter's ≪Ashes to Ashes≫ and Maupassant's ≪The Orla≫. Pinter's ≪Ashes to Ashes≫ is a work in which the realistic elements and the absurdity elements that break them up are mixed. I, the writer, visualize such two structures through the contradictory forms. Or, in other words, it is the visualization of the space of the everyday life, which is a realistic stage, into the conceptualized, sensible images and the visualization of the unfolding of the fragmented, suggestive, and uncertain absurdity language into the specific behaviors. As a result, I, the researcher, set up the space of the specific everyday life of this work as a conceptualized, sensible space or, in other words, as a space in which the fragments of the hidden memories are revealed. These fragments of the hidden memories become the dramatic space which is revealed by the light. Such a light is especially defined by the lamps that are placed on the entire stage. Or, in other words, according to the diverse forms of the lamps and the quality of the light, the fragments of the memories of Rebecca get sensibly visualized. In contrast, the unfolding of the Pinter-type absurdity language or, in other words, the Pinteresque language gets visualized through the behaviors and the movements which can be specifically, clearly, and definitely read. Such actions return as the rhythmized actions or the play and dance actions that can read and that can feel specifically by aggressively interpreting the organizational elements of the works which Pinter enjoys using especially like the pause, the silence, and the three dots and, especially, the subtexts internalized within the pause. If the absurdity lines in the ≪Ashes to Ashes≫ by Pinter had focused on finding the specific behaviors, the lines in ≪The Orla≫ had concentrated on finding the conceptualized, sensible images. The reason is that this work directly explains the content of the work to the audience with the monologue format that is led by one narrator. As a result, ≪The Orla≫ focuses on how to sensibly visualize the conceptual meanings that are possessed in the lines. Or, in other words, it is that the explanatory speech and the stage that is not explanatory must actualize a balance. It is the meaning that the filling of the words and the emptiness of the space must have tied the mutual relationship. Regarding the proceeding of the play, the explanation through the words disappears, and the emptiness of the space possesses the process that gets filled. The specific places in the novel get transformed into the metaphorical images of which the concepts were made sensible. The beautiful house and the space of the abundant everyday life of the narrator had been returned as a space which shows the tragic phenomenon of the existence of the human beings through the meeting with the surrealistic existence called “The Orla”. Or, in other words, it is that the essence of the phenomenon of the existence of the human beings, which is revealed within the meeting with the surrealistic existence called “The Orla”, is, eventually, the matrix within the devastated wasteland which is floating in the air by being shut up inside a frame. The lyrics, also, are mainly expressed within the conceptualized and sensible images that reveal the anxiety, the fear, and the incapability of the possession which occur within the tragic situations of the existence of the human beings who are shut up within the frame. In these works, eventually, I, the writer had attempted the tasks of returning the everyday life to the abstraction and the abstraction to the concreteness. Or, in other words, the visualizations took place by returning the narratives to the conceptualized, sensible images and the abstract words to the concrete, rhythmized acts.
#Empirical knowledge #Ethnoscenology #The Method of visualization #Ashes to Ashes #The Orla

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나진환 / 2010 / 연극무용(Theater-Dance)의 행동구조에 있어서 말(Parole)의 의미와 역할 / 연극교육연구 16:67~95 google schola 나진환 / 2011 / 《악령》의 창조과정에 나타난 연극무용(Theater-Dance)의 창작 방식* / 연극교육연구 1(18):119~156 dbpia 나진환 / 2012 / 소설,《죄와 벌》을 공연화하는 창작과정에 나타난 연출의 미학적 특징: 이미지에서 드라마로 / 연극교육연구 21(21):47~81 google schola 나진환 / 2017 / 연극 ≪카라마조프가의 형제들≫에 나타난 연출의 미학적 특징 / 연극교육연구 31(31):29~56 dbpia 모파상 / 2015 / 모파상 환상 단편집 / 지식을 만든는 지식 google schola

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