이윤택의 연극적 문법에 관한 고찰 -<문제적 인간 연산>과 <시골 선비 조남명>을 중심으로- = Essay on Lee Yun-Taek`s Theatrical Grammar -Focusing on "Problematic Human Yeoun-San" and "Rural Scholar Jo Nam-Myeong"-

다국어 초록 (Multilingual Abstract)

This essay intends to investigate specifically Lee Yun-Taek`s theatrical grammar focusing on "Problematic Human Yeoun-San" and "Rural Scholar Jo Nam-Myeong" which both similarly deal with historical figures. It is seen from two plays stated above that Lee Yun-Taek makes good use of daring compression and omission for the configuration of each scene. This can be possible thanks to his ability to use images. He devices a method of imprinting by a symbolic image instead telling a long tale. We can find that the most surreal technique in his plays is ``Goot``, therefore, we can see, in "Problematic Human Yeoun-San", he leads to a Goot-Pan(ritual) at the moment of heightened conflict and fighting, and he leads to reveal the critical secret through ``Bing Ue (Possesion by a spirit)``. Also, in the "Rural Scholar Jo Nam-Myeong", the surreal element is directed through the dead spirits who were sacrificed at Uelsa-Sawha(a massacre of scholars caused by party strifes in 1545, during Myungjong`s term of office in Josun Dynasty). By having the main characters perform the commentator`s role or through singing and dancing in the chor us, Lee Yun-Taek actively uses ``Alienation Effect``. Sometimes, the author`s voice directs the main character to act in a specific way. Also, Lee uses cruelty drama elements and would rather require the very strong commitment. In the two works, the musical elements are very important, especially when a brutal scene is directed, fast rhythm of the percussion or sound effects pulls extremely up the terrifying feelings. Musical elements contributes to the ritualistic effect. His directing techniques of cruelty can be called ``a shock therapy`` which suddenly calls the audience dull to the reality awake in the respect that he shakes away the audiences`s reason and senses by mixing the alienation effects of the epic and the ecstasy of cruelty play exquisitely. His stage-setting mostly pursues symbolism-given formation rather realistic formation. His lines have basically enlivened our traditional rhyme and, further, in many parts, are delivered through poems and songs. The magical language he uses in the ``Goot`` has been borrowed from the ``Mooga(Shaman Verse)`` but all has been remade by him in a fun way and in an exciting way. He aims for the form-oriented performance in terms of acting. Actor`s voices are poetically enhanced and the movements are largely exaggerated. Even, he sometimes makes use of Marionette-like acting. In the highly stylised directing technique like his, we can see that the abundant visual and auditory images are naturally enhanced and the spectacular elements appears with the most richness. This is because his drama is dreaming of the same state as the poem. The more his drama gets experienced, the more his drama goes for the play abundant with ritual elements, or ``the ritual play`` itself. He embraced the right mix of epic and the cruelty, which it corresponds with the stylistic features of ``goot`` which is the origin of our traditional play. We cannot deny that ``goot`` implies the great dramatic techniques which had achieved an ecstasy through a repeat of tension and relaxation with the audience.

참고문헌 (Reference)

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