불가코프의 메타드라마 연구

백승무 ( Seung Moo Paik ) 서울대학교 러시아연구소 2012 러시아연구 Vol.22 No.1

The purpose of this paper is to reveal the creative origin, literary characteristics, and theatrical specificities of Mikhail Bulgakov`s meta-drama The Cabal of Hypocrites. This paper examines the reasons for the emergence of meta-dramatic theatrical imagination in the literary context of those days, and analyzes how the author projects theatrical fictitiousness into his existential state. Self-conscious of his meta-dramatic themes, Bulgakov does not only engage in theatrical experimentations with abstract notions but also brings them forth into the real world. Thus, his meta-dramatic literalism compensates for the perceived loss of the real world through artistic inclusiveness, and further illustrates the organizing principles of reality and people who reside in the real world. In The Cabal of Hypocrites, Bulgakov depicts a dramatic man in Moliere, rather than a great artist him, who succumbs to death due to his "tragic flaw" (i.e., hamartia). The Cabal of Hypocrites is a sad elegy on the death of Moliere. It is also a testimony to the significance of Moliere`s life beyond death as well as Bulgakov`s determination to internalize the significance of the great man`s life. Bulgakov`s exposition of the relationship between art and life, as well as his pursuit of the transcendent meaning of life beyond death, defined the themes of his work in the 1930s. The Cabal of Hypocrites was Bulgakov`s theses on life, which determines his own destiny as an artist. It was also his literary testament that was written through the transcendental consciousness of death.

행위와 윤리

백승무(Paik, Seung Moo) 한국노어노문학회 2015 노어노문학 Vol.27 No.4

본 논문은 메이예르홀트의 생체역학 속에 내장된 윤리학적 인간관과 그 미학적 지향을 검토하고 있다. 메이예르홀트는 젊은 시절부터 연극의 세계개조 가능성과 그에 걸맞은 배우의 품성론에 대해서 지속적인 관심을 가졌다. 그의 배우교육의 핵심은 자연인으로서 배우를 미학적 행위의 담지자로서 개조하는 것이자, 새로운 배우-인간으로 재탄생시키는 것이다. 스타니슬랍스키가 내면적 진실을 어떻게 표현할 것인가 하는 문제에 중점을 뒀다면, 메이예르홀트는 배우가 관객에게 어떻게 보여지는가를 중시했고, 새로운 배우-인간에 대한 덕목 또한 이를 바탕으로 구성되었다. 건강한 인간, 조형적 인간, 표현 능력이 강한 인간, 음악적 인간 등은 생체역학이 천명하는 새로운 미학적 인간의 표상이었다. 생체역학은 자유로운 인간 주체를 위한 일종의 윤리지침서이며, 그 본질적 의미는 정신적, 육체적 해방이라고 볼 수 있다. This paper proposes an analysis of ethical viewpoint on human and aesthetic orientation in Meyerhold"s Biomechanics. Meyerhold had an ongoing interest in world and human renovation possibilities of theater. The core of his actor training is adapted to make the actor as a natural person the bearer of aesthetic action, and to reborn as the new actor-human. While Stanislavsky focused on the problem of how to express inner truth, Meyerhold was more concerned with the way that the audience sees the actor, and the virtues of a new actor-human were also based on this configuration. Healthy human, formative human, human of high expressiveness, musical human was the new aesthetic human representation that Biomechanics oriented. Biomechanics was a kind of ethical guidelines for liberal human subjects, and it"s essential meaning could be considered as mental and physical liberation.

대학 교양연극의 활용가치와 그 실현방안

백승무 ( Seung Moo Paik ) 겨레어문학회 2015 겨레어문학 Vol.54 No.-

본 논문은 대학 교양교육 중 말글교육의 일환으로 교양연극의 필요성과 그 실현방안을 고찰하고 있다. 현재 대학교육은 취업률과 스펙으로 대표되는 부조리한 실용주의에 의해 몸살을 앓고 있다. 인문정신으로 무장한 지성인과 소통능력이 있는 건강한 시민을 양성하기 위해서는 교양교육, 특히 말글교육의 혁신이 필요하다. 교양연극은 창의성 함양, 문제해결능력 향상, 소통과 교감 능력 배양, 신체 영역의 각성 등 말글교육의 주요 가치를 체득할 수 있는 효과적인 학습방법론이다. 교양교육이 상정하는 교수·학습 범위는 분석력과 이해력을 증진시키는 지적 영역부터 공감과 교감의 능력을 배양하는 정서적 영역, 그리고 표현력과 예술적 감성을 연마하는 신체적 영역에 이르기까지 그야말로 전인적 품성을 아우르고 있다. 본 논문에서는 말글교육의 하부단원으로 2주차시의 교양연극 과정을 제안하고 있다. This paper considers the Values and its realization of the Liberal theatre as a part of the Korean language education in university. Current college education is suffering from a fever by the absurd pragmatism represented by employment rate and building Specifications. In order to overcome these difficulties, we need to innovate all liberal education, especially korean language education. Liberal theatre is an effective learning methodology that can acquire the key value of korean language education, for example, fostering creativity, problem solving competence, communication and rapport skills and awareness of the body area, etc. In this paper it is proposed a process of the Liberal theatre at 2 classes in the lower section of the Korean language education.

은시대 연극미학 연구 -은시대의 개막과 러시아신극의 형성

백승무 ( Seung Moo Paik ) 한국드라마학회 2013 드라마연구 Vol.- No.40

The purpose of this paper is to reveal the theatrical essence of the russian Silver age. This age is full of the aura of theatricality, known as the Renaissance of Russian theatrical art. The period of Silver age, between the late 19th and early 20th century, refused the traditional values of the past and tried to construct a new world-view, as well as pursue the social reforms and artistic changes. The theatre was located in the center of this age. The theatre of Silver age expended effort on the reflection of a changed reality with new artistic language and a new critical mind. Russian New drama was the core concept which accomplished the theatrical missions of Silver age and experimented the possibility of theatre`s future values. Russian New drama, which abounded in wild experimental spirits and intense rebellion, provided formation and development of 20th century theatre with aesthetic direction and artistic vitality. 본 연구는 시의 시대로 규정된 러시아 은시대가 연극성의 아우라로 가득 찬 시기였으며, 연극예술의 르네상스로 기록되는 시기였음을 밝히고 있다. 19세기말부터 20세기 초까지 러시아 은시대의 시기는 과거의 가치체계를 거부하고 새로운 세계관을 형성하는 변화와 개혁의 시기였다. 그 혁신과 실험의 중심에연극이 있었다. 은시대 연극은 새로운 언어와 문제의식으로 변화된 현실을 반영하고자 했으며, 새로이 도래하는 미래의 가치들을 미학적으로 분석하고 예견했다. 러시아신극은 그러한 은시대 연극의 기능과 의미를 실현하는 핵심적 개념이었다. 러시아신극은 유럽의 뉴-드라마 운동의 영향을 받아 상징주의를중심으로 개시되기는 했지만, 이후 리얼리즘과 상징주의를 통합하는 융합의 미학으로 진화한다. 러시아신극은 외적 갈등에 적극적으로 대체할 수 없는 왜소한 개인의 복잡한 내면과 심리, 인류의 운명과 본질에 대한 추상적 철학이 우세한 드라마이다. 격렬한 실험정신과 첨예한 도전정신이 충만했던 러시아신극은 20세기 연극미학의 방향과 양상을 결정짓는 맹아를 제공한다.

메이예르홀트 공연의 음악성 연구 - 2. 발화와 행위의 음악적 조직화 -

백승무 ( Seung-moo Paik ) 한국외국어대학교(글로벌캠퍼스) 러시아연구소 2020 슬라브연구 Vol.36 No.1

연극예술은 주신찬가에서 탄생할 때부터 음악의 정체성을 안고 있었고, 코러스와 인물 간의 대화라는 형식도, 개별 인물들의 다성악적 발화 형식도 철저히 음악적이었다. 억제되고 감춰진 이 음악성을 어떻게 드러낼 것인가 하는 것이 메이예르홀트의 주된 문제의식이었고, 가장 먼저 배우의 발화와 행위를 음악의 원리에 맞게 재구성하고자 애썼다. 메이예르홀트는 발화와 행위에 내재한 음악적 속성을 선명하게 외화하고 이를 체계적으로 정교화하는 데에 앞장섰다. 배우의 감이나 개성에 의탁했던 이 음악성의 영역을 훈련의 대상으로 공식화하고 작품의 구조적 원리 속에 편입시켰다. 그의 궁극적 목표는 음악적으로 조직화된 연극, 음악적 원리로 구축된 연극, ‘음악정신’(니체)으로 충만한 연극을 만드는 것이었다. Theatrical art has had the identity of music since its birth, and the form of dialogue between chorus and characters, and the polyphonic composition of the characters were thoroughly musical. Meyerhold’s main interest was how to reveal this suppressed and hidden musicality, and first of all tried to reconstruct the method of actor’s speaking and acting according to the principles of music. Meyerhold took the lead in vividly externalizing and systematically elaborating the musical attributes inherent in actor’s speech and acting. He formulated this area of musicality, which was dependent on the actor’s sense or personality, as an object of training and incorporated it into the structural principles of his work. His ultimate goal was to create musically organized plays, plays built on the principles of music, and plays filled with ‘the spirit of music’(Nietzsche).

메이예르홀트 공연의 음악성 연구 - 3. 공연 구조와 구성의 음악화 -

백승무(Paik, Seung-Moo) 한국슬라브유라시아학회 2020 슬라브학보 Vol.35 No.3

This thesis is the third study to discuss the musicality of Meyerhold’s plays. While the previous two papers explored the cultural background and aesthetic principle of musicality, and the musical organization of speech and action, this paper examines how musical principles operate in the composition and structure of plays. His musical experiments were intensified by showing the aspects of evolution and development, and over a long period of time, the stage element of music contributed to the structuring and synthesis of the performance, and became an essential principle defining the ideological content of the play. The musicality that Meyerhold aims for is a methodology that reveals the essence of the play, independent of the linguistic text. His musicality is not only self-sufficient in itself, but has become a dramaturgical component called the subtext beyond the additional and modifying functions of the stage situation. “Teacher Bubus”, a ‘comedy made from music,’ shows how music dominates the various stage elements that determine the structure of a performance, and the ‘musical composition of action’ was applied in earnest. “The Government Inspector” is a work in which Meyerhold"s musicality gains the genre status of ‘musical realism’, and in “The Lady of the Camellias”, the musicality that shakes the psychology of the audience and raises the consciousness of the subject takes the position of the final instance of the play.

스타니슬랍스키의 모순에 대한 소고 : 오류와 진실 사이에서

백승무 ( Seung Moo Paik ) 한국드라마학회 2014 드라마연구 Vol.0 No.42

150 years have passed since the birth of Stanislavsky and 75 years have passed since his death. However, his reputation and teaching in the theatre area is still alive. It``s difficult to list Stanislavsky``s merits and influence on the russian art history and the world theatre history. If so, we can not help asking if this perception and evaluation is really correct? Stanislavsky``s System is really an error-free theory? In this paper, we examine the theory of three theorists, who were opposed to the Stanislavsky``s System at the time, and the Nikolai Demidov``s theory, who was deeply involved in the construction of the System, but later pointed out errors and defects of the System. Bryusov``s Uslovnost`` theory, Evreinov``s theatrical instinct theory, Meyerhold``s biomekhanika and Demidov``s creative freedom commonly criticized flaws in the System, but as a result they have contributed to the completion of the System. Since establishment of the diplomatic relationship between Korea and Russia, we had a lot of opportunities to study the System in Russia. It``s very encouraging that many majors in the area of theory and practice are active in Korea. In fact, the System is difficult to apply to us, to those who do not have a systematic method of acting training, cohesive strong theatrical troupes and repertory theatres. So we need to create our own System. This paper will help us make our own System. 본 논문은 스타니슬랍스키 동시대에 그의 연극미학과 체계적 연기훈련 방법론인 ‘시스템’에 반기를 든 네 이론가의 주장을 살펴보고, 시스템이 좀 더 큰틀 위에서 이해되는 데에 기여하는 것을 목표로 삼고 있다. 스타니슬랍스키 탄생 150주년이 된 오늘날까지도 그의 명성과 영향력은 조금도 줄지 않고 있고, 오히려 전세계적으로 확장일로를 걷고 있다. 하지만 그의 시스템만 따로 떼어놓고는 그 체계의 위용을 제대로 체감할 수 없다. 시스템이 탄생하게 된 역사적 콘텍스트와 그 대항자들과의 이론적·실천적 쟁투를 전체적으로 조망했을때, 시스템이 홀로 선 외산이 아니라, 연극관과 세계관을 아우르는 거대한 산맥임을 목격할 수 있다. 본 논문에서는 브류소프의 조건성 이론, 예브레이노프의 ‘연극 자체’ 철학, 메이예르홀트의 생체역학론, N. 데미도프의 ‘창조적 자유’론 등이 소개될 것이다. 이들 모두는 당대에 스타니슬랍스키와 협업, 혹은 대결을 하면서 시스템이 좀 더 완벽하고 효과적이며 철학적·역사적 맥락을 가진이론으로 성장하는 데에 큰 기여를 한 인물들이다. 이들의 이론과 논박들은 시스템의 결함과 모순을 향해 정조준되었지만, 결과적으로 시스템의 면역력과 내성을 증대시켜 그 신뢰성을 높이는 역설적 효과를 안겨주었다.

대순환의 유토피아: 은시대 연극미학의 순환론과 종합주의

백승무 ( Seung Moo Paik ) 서울대학교 러시아연구소 2013 러시아연구 Vol.23 No.2

This paper studies the time circle view and synthetism, melted in the theatrical esthetics of russian Silver age. The Russian modernism theorists idealized the ancient Greek civilization and medieval russian culture, and tried to revive their integrated and creative energy. To find the ideal form in the prior culture model and to restore it`s forgotten prototype, russian modernists went back to their ideological mentor, Nietzsche. Their exploring archaeological past was because of the notion of general circulation of time, rather than because of an impulse or a vague curiosity to delve into a new and strange thing. Russian modernists considered the reality as ``a continuum of myth``, and wanted to change ancient myths to a modern mythology. Another core keyword to regulate the russian Silver age culture was the concept of synthesis (синтез). Synthetism (синтетизм) was expressed in all cultural areas, and it formed the foundation of philosophy and aesthetics of this era. The phenomenon Synthetism blurred the definite boundaries between art genres, even erased the borders of so-called art activities. So there was no distinguish between art and everyday life, art and the other types of culture. It was natural that the function of art expanded and strengthened. In short, restoration of the synthesized form of the ancient culture meant to heal defects and contradictions of contemporary civilization which lost cultural totality and unity.

환상과 현실의 길항 : 불가코프 환상소설의 세 유형

백승무(Paik, Seung Moo) 한국노어노문학회 2015 노어노문학 Vol.27 No.2

본 논문은 M. 불가코프의 소설에 등장하는 환상이 어떤 유형을 취하고 있으며, 그 기능과 원리가 어떤 것인지 분석하고 있다. 불가코프의 작품 속에서는 초자연적 현상이나 비현실적 사건들이 수시로 발생하면서 현실과 환상의 경계가 허물어지거나, 그 위상이 뒤바뀌는 기법이 자주 사용되고 있다. 불가코프의 환상성은 작가의 세계관과 문학성을 이해하고 판단하는 핵심적 준거가 되는바, 그 작동원리를 이해하고, 유형별 특징을 살펴보는 것은 무엇보다 중차대한 과제라 할 수 있다. 본 논문에서는 환상성의 유형을 대표하는 세 작품(『개의 심장』, 『치명적인 알』, 『거장과 마르가리타』)을 중심으로 현실과 환상의 위상변화와 경계해체, 병치와 역전의 양상 등을 분석한다. This paper analyzes the type and characteristics of fantasy, which is shown in M. Bulgakov"s novels. From the early feuilleton to the last novel "Master and Margarita", we can easily witness the fantastic phenomena in his works. In M. Bulgakov"s novels, it is common to see that supernatural phenomenon or unrealistic event suddenly creeps into the everyday life of the heroes, and realistic layer is bizarrely combined with fantastic layer. Fantasy seems to be an extension of reality or its variant ("Heart of a Dog"), sometimes fantasy, provoking a huge impact and horror, is significantly separated from reality ("The Fatal Eggs"), and in a case fantasy precipitates readers into confusion, in which they cannot distinguish between reality and fantasy ("Master and Margarita"). With these various capabilities of fantasy, we can face the substance of reality, and reach self-reflection and self-awareness. M. Bulgakov"s Fantasy is the most powerful weapon to expose the oppression and lack of reality.

불래불거(不來不去): 불가코프의 反소비에트적 시간관념

백승무(Paik, Seung-Moo) 한국슬라브유라시아학회 2013 슬라브학보 Vol.28 No.3

From the second unit to the 365 days a year, we seem to have a fair time, but the concept of time is relative and flexible. In addition, it has the ideological nature, that it"s valuation varies according to the will of the powers. Soviet-era which has settled the Socialistic Realism decisively made a break with the past, and waited for an idealized future. Representational notion of the Soviet time in a word was "forward!, fast!". But Bulgakov went against this notion of the time. The heroes of the "Bliss" who have refused the future, went back to the past. For them, the future does not come, despite the present time is flowing. In the "The last days" the past is absolutized and mythologized, so it never flows away and lasts to the present. The narrative time of Bulgakov"s plays "Bliss" and "The last days" was obviously opposed to the sense of the contemporary audience. "Bliss", the epic exploration of the future of the USSR, shows the denied future, a future that can not be coming in paradoxical view. In "The last days", the past one hundred years ago is still present. It shows that the past is not clear, never forgotten. Bulgakov"s "Bliss" and "The last days" indicate the cracks between rough, crude Soviet time system. And It says that the only crack filler is the sacred classic by great artists. It says that the "old future" to replace the not-coming future is the majestic monuments of the past which were built by great human souls.