지역화로 재생산된 셰익스피어 = 번역(안)/각색된 『햄릿』을 중심으로

다국어 초록 (Multilingual Abstract)

The world-wide significance of Hamlet is evident that Shakespeare is regarded as a classic indispensable to the repertoire in the theatre of Korea. In fact, Hamlet is the most frequently produced play in Korea during the last two decades. Some productions recorded great box-office success localizing the play with ‘tradapted’ versions in various ways. Among them, four most controversial productions during 1990’s are selected to be analyzed in which Lee Yun-taek’s Hamlet (1996) and The Trouble-maker, Yonsan (1995), Lim Jae-chan’s Invitation. 1997 Spring, and Kim Ah-rah’s Hamlet 1999 were included.
Lee’s The Trouble-maker, Yonsan is a certain kind of ‘tradapted’ production in which the Brechtian and the Artaudian theories as well as the ritual and the expressionism fused with Korean traditional elements were found during the play. Lee put a tyrant, Yonsan from Chosun dynasty into the position paralleled with Hamlet in terms of the theme of revenge. As in Hamlet, a ghost enters in the opening scene dancing a slow movement, a shamanic rite, Gut is performed under the direction of Yonsan as the play-within-the-play in Hamlet, and at the end, Yonsan kills all major characters who are connected with the death of his mother. Compare this to Kurosawa Akira’s Ran, it would be considered as one of the qualified tradaptation of the localized Hamlet.
Lee’s Halmet is an another example of the tradaption, which make a great box-office success in front of the local audience as well as of the global audience in Russia. In this production, Lee keeping the authenticity of the source text tried to create an intercultural performance mixing some Western elements with their Korean counterparts: rearranged the sequence of scenes and non-verbal elements; used Korean mask dance, percussion quartet, Young-nam Deotboigy dance, the local mise-en-scene composed of the inside of Cheon-ma-chong, Budhist monk garment, and mixed the sound and music of the Korean instruments with piano and violin. This production would be a good attempt to expand our contemporaries through deconstructing Christian tradition with Korean shamanism. Lee’s intercultural production would begin to interchange between the East and the West expanding Shakespeare’s authenticity for all global/local audience.
Lim Jae-chan’s Invitation. 1997, Spring transformed the blood-shedding revenge tragedy into a trial play. It is Fortinbras who is a judge in this trial. The scenes of the source text were rearranged according to the process of the trial, and just sitting their seats in the auditorium, the audience spontaneously took a part in that trial as the jury. This trial format, of course, reflects the contemporary socio-political milieu of the Korea. Kim Ah-rah’s Hamlet, 1999, on the other hand, shows another way of tradaptation. Using the confucian ideology of ‘hyo’(filial duty) and ‘choong’(loyalty) instead of Christian counter part, Kim transformed melancholy Hamlet in meditation to unrestrained popular one of an elaborate action.
Shakespeare often serves as a touchstone to test not only the potentiality of local culture in their integration with the global, but also the localizability of the global. The outstanding and somewhat puzzling innovations of the selected productions in this essay would be awkward to the Western audience because of their local settings or names, metatheatrical frames and tradaptation. However, as Bharucha argues, “It is only by accepting that the translation process is constantly being interrupted, reversed, and questioned from multiple angles, not just between theatre cultures but within the intercultural differences of these cultures, that we can begin to embrace the joyous difficulties of working on Shakespeare in ‘foreign’ contexts” (278).

목차 (Table of Contents)

• 서론
• Ⅰ. 이윤택의 『문제적 인간, 연산』(1995)
• Ⅱ. 이윤택의 『햄릿』(1996)
• Ⅲ. 임재찬의 『초대, 1997년, 봄』(1997)
• Ⅳ. 김아라의 『햄릿 1999』(1999)
• 결론
• 인용문헌
• Abstract

참고문헌 (Reference)

1 이현우, "한국의 뉴 밀레니엄 셰익스피어" 40-57, 2012

2 김미도, "이윤택의 연극적 문법에 관한 고찰-<문제적 인간 연산>과 <시골 선비 조남명>을 중심으로-" 한국연극학회 (46) : 97-124, 2012

3 심정순, "욕망과 광기의 대중적 햄릿 실험: <햄릿 1999>, In 글로벌시대의 한국연극 공연과 문화 II: 대중화, 국제화 가속시기−1990년대와 IMF 이후" 푸른사상 184-188, 2003

4 김우옥, "연출을 중심으로 본 <문제적 인간, 연산>" 한국연극협회 25 (25): 2-4, 1995

5 김윤철, "연극성에 대한 다양한 접근: 극단 유의 <문제적 인간, 연산> 공연평" 한국연극협회 24 (24): 40-42, 1995

6 최준호, "사랑의 연극잔치에 담긴 흥, 창의력, 사회성" 한국연극협회 22 (22): 52-54, 1997

7 Yeung, Jessica, "Xiqu Adaptations of Macbeth in Anglo-American Studies 17, In Shakespeare Global/Local" Peter Lang 19-27, 2002

8 Suzuki, Masae, "The Three Japanese Othello in Anglo-American Studies 17: Shakespeare Global/Local" Peter Lang 131-142, 2002

9 Hoy, Cyrus, "The Original Texts in The Complete Pelikan Shakespeare" The Viking Press 40-44, 1984

10 Bloom,Harold, "Shakespeare:The Invention of the Human" Riverhead Press 1998

11 Bulman, James, "Shakespeare, Theory, and Performance" Routledge 1996

12 Kim, Dong-Wook, "Shakespeare Studies and Hamlet in Korea in Shakespeare’s World / World Shakespeare" U of Delaware P 260-272, 2008

13 Kim, Dong-Wook, "Glocalizing Hamlet: A Study of Lee Yun-taek’s Productions from 1996 to 2005” in Glocalizing Shakespeare in Korea and Beyond" Dongin Publishing 91-124, 2009

14 Bharucha, Rustom, "Foreign Asia/foreign Shakespeare: dissenting notes on New Asian interculturality, postcoloniality and re-colonization, In in Shakespeare in Asia: Contemporary Performance" Cambridge UP 253-281, 2010

15 Fischlin, Daniel, "Adaptations of Shakespeare: A critical anthology of plays from the seventeenth century to the present" Routledge 2000

16 Salter, Denis, "Acting Shakespeare in Post-Colonial Space in Shakespeare, Theory, and Performance" Rutledge 113-148, 1996

17 김미도, "<문제적 인간, 연산>의 희곡적 성과" 한국연극협회 25 (25): 5-7, 1995

18 이화원, "90년대 연극평론 자료집(V)" 평민사 1999

19 이현우, "90년대 셰익스피어 공연 현황에 대한 소고, In 우리극 연구 7: 후기 산업사회와 연극" 공간미디어 77-94, 1996

20 최준호, "1996년의 연극무대를 돌아보며" 공간정보문화 (겨울) : 147-164, 1996