셰익스피어, 마당, 그리고 한국 전통극 양식

이현우(Hyon-u Lee) 한국셰익스피어학회 2007 셰익스피어 비평 Vol.43 No.3

Since the New Globe Theatre opened in 1996, they have used the yard as an acting area or entrances. Even though the authenticity of using the yard is disputable, nobody denies that the yard must be a very effective tool for performing Shakespeare at the Globe Theatre. The yard is an essential part of traditional Korean theatre, called 'talchum (mask dance)' or 'talnori (mask play).' The yard is its stage as well as the auditorium. Therefore, the players are surrounded by the audience, and the players can, and often do interact with the audience, speaking to the audience, or treating them as players, or acting as if they were some of the audience. The theatrical style of using the yard has much influenced the modem theatre of Korea. And some Korean directors, such as Oh Tae-suk, Yang Jung-ung, and Lee Hyon-u, have applied the yard techniques to their Shakespearean productions. Yang Jung-ung's A Midsummer Night's Dream used the yard exactly the same way as talchum performances. Oh Tae-suk's Romeo and Juliet adopted the acting style of talchum players, they would face the audience and speak toward the audience as they act. And Lee Hyon-u's Coriolanus set up 15 television monitors on the stage in order to let the audience see themselves as part of the play, and made the underground entrance between the auditorium and the forestage in order to give the illusion of players appearing from the audience and disappearing into the audience. Sometimes the actors actually became part of the audience thus including them in the performance both orally and physically like traditional Korean theatre. Korean Shakespearean productions, which use the yard actively, can be more evidence that the yard must be an effective tool for Shakespeare, not only at the Globe Theatre but also at any kind of theatres of today. No one knows whether Shakespeare actually used the yard or not. But the fact that many Shakespearean productions have used the yard successfully, means that Shakespeare's texts themselves have enough room for the yard.

셰익스피어와 할리우드 이데올로기

이현우(Hyon-u Lee) 한국셰익스피어학회 2000 셰익스피어 비평 Vol.36 No.3

Today Shakespeare boom in Hollywood, which started in the 1990s, is getting hotter and hotter. But is Shakespeare conquering Hollywood or conquered by Hollywood? This seems to me a very important and urgent problem to Shakespearean studies and education, which are totally exposed by multimedia environments and ready to use them. Although the explosion of Shakespeare on film seemed to reach the culmination with Shakespeare in Love(I998), Hollywood didn't stop the boom of Shakespeare. In some respects, the real boom of Shakespeare in Hollywood can be shown to occur with Shakespeare in Love. For two years just after that movie, Hollywood has been producing more Shakespearean films than for the last decade: Michael Hoffman's A Midsummer Night's Dream(I999), Anthoy Hopkins and Jessica Lange's Titus(l999), Gil Junger's 10 Things I Hate About You: an adaptation of The Taming of the Shrew, Tim Blake Nelson's 0(1999): an adaptation of Othello, David Dobkin's Near in Blood: an adaptation of Macbeth(2000), Donald McAlpine's William Shakespeare's Romeo and Juliet (2000), Ethan Hawke's Hamlet(2000), Jet Li's Romeo Must Die: an adaptation of Romeo and Juliet(2000), Greg Lombardo's Macbeth in Manhanttan,2000), and Kenneth Branagh's Love's Labour's Lost(2000). Since Franco Zeffirelli's Shakespearean movies and especially with Kenneth Branagh's, Hollywood has kept to demystify Shakespeare, and make him accessible and entertaining to the common audience. But today most of Hollywood Shakespearean films show the collective inclinations to Americanize Shakespeare. Now we have to consider the power of Hollywood which has already conquered most of the world cinema market. Hollywood is one of the biggest industries in U.S, and it has its own ideologies for its own benefit: conservative nationalism, capitalism and commercialism. Additionally Hollywood is suspected of representing the cultural imperialism of U.S. Hollywood's popular Shakespearean films are rapidly replacing the original texts for young students, not only in the movies such as "Clueless" or "The Last Action Hero", but also in reality. Although Shakespeare has been localized and modernized in so many different ways untill now, Hollywoodization or Americanization of Shakespeare is very special and demands our another attention because their power is too overwhelming for other cultures and other thoughts. It is possible that many Shakespeare teachers would play the roles of the propagandists for the cultural imperialism of Hollywood or America against their own will. Hollywood Shakespeare boom should be welcomed. But it also should be watched. This paper is to define the realities and orientation of Hollywood Shakespeare boom from 1990 to the present, and finally to explain Hollywood Shakespeare boom in the relation of Shakespeare and Hollywood ideology.

셰익스피어의 극 언어, 어떻게 한국화 할 것인가?

이현우(Hyon-u Lee) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.1

Shakespearean characters would say “hear a play” instead of “see a play.” Hearing is as important as seeing in Shakespearean plays. It is, of course, because Shakespeare’s language, represented by blank verses, couplets, sharing lines, and puns, plays essential parts in his plays. Incidentally, when Shakespearean plays are translated or performed in Korean, those poetic and dramatic qualities of Shakespearean language are usually ignored. As the linguistic structures and the poetic systems of Korean language are quite different from those of English, most of Korean Shakespeare translations and stage productions have used simple prose translations without such poetic and dramatic qualities so far. However, some Shakespearean scholars including Choi Jong-cheol and myself have tried to do poetic translations. Especially some Shakespearean productions such as Oh Tae-suk’s Romeo and Juliet, Macbeth, and The Tempest, Park Sung-hwan’s Changgeuk Romeo and Juliet, Park Sun-hee’s Pansori Hamlet Project have used Korean poetic language, and shown how Korean poetic rhythms can alternate Shakespearean poetic language.

이라크 전쟁과 영국의 2003-2004 셰익스피어 공연

이현우(Hyon-u Lee) 한국셰익스피어학회 2006 셰익스피어 비평 Vol.42 No.3

Shakespeare says in Hamlet the purpose of playing is "mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of time his form and pressure." Playing Shakespeare should be reflecting the times. Iraq war must have been one of the most pressing, the most inhuman and the most disastrous social issues in the world since U. S. invaded Iraq on the 20th of March, 2003. Although U. S. has led the war, England dispatched the second biggest troops to Iraq, and South Korea the third biggest. England and South Korea can not be free from the responsibility about the war, even though South Korea's troops have just stayed inside the camp, instead of fighting against Iraqi army. British theatre's reactions to Iraq war were immediate and hot and of very wide range. Above all, we need to observe the movements of The National Theatre and Royal Shakespeare Company which are representative of British theatre. Nicholas Hytner's first season as artistic director at the National Theatre began with a modern version of Shakespeare's Henry Ⅴ. With its combat gear, video screens, it connected Shakespeare's Agincourt with today's Basra. Especially, as Michael Hubbard points out, the production's use of live TV feeds to broadcast Henry's propaganda recalled addresses given to the Iraqi people by George W Bush and Tony Blair during Iraq war. This production of Henry Ⅴ gave sharp voice to its anti-war agenda. Mearsure for Mearsure, a co-production of Complicite and the National Theatre, which was directed by Simon McBurney, emphasized the horrors of Angelo's prison through some topical touches concerning Iraq war; Angelo was allied with the hypocrisy of George W. Bush, whose image appeared briefly on the video screens during Lucio's lines about a "sanctimonious pirate"; and the prisoners, who were severely beaten and tortured, wore the Guantanamo-style orange overalls. Royal Shakespeare Company's productions have seldom tried topical touches about Iraq war. But Othello, directed by Gregory Doran, led the audience to recall Iraq war, even though the moments were brief Othello's camp reminded us of a garrison town in some distant British colony with all wire-compounds and corrugated iron fences. And Islamic women lurked and ran away behind steel netting at the rear when they met the Venetian soldiers's violence. As a result, this production led the British audience to relate Othello's tragedy with Iraqi situation in which British army is involved today. British Shakespearean productions have shown active and acute reactions against Iraq war as soon as the war broke out in 2003. Their attitudes about urgent social issues like Iraq war remind Korean theatre of what theatre should do.

나쁜 『햄릿』은 나쁘기만 한 걸까?

이현우(Hyon-u Lee) 한국셰익스피어학회 2008 셰익스피어 비평 Vol.44 No.3

Since A. W. Pollard invented the term "bad quarto," in Shakespeare's Folios and Quartos: A Study in the Bibliography of Shakespeare's Plays 1594-1685(1909), the first quarto of Hamlet has been almost habitually called just as the "bad" one. In fact, Q1 Hamlet has many flaws such as about half of the length of the more familiar second quarto and folio versions, the uneven verbal texture and the simpler characterization, etc. We can find, however, the bad Hamlet is not so bad as it has been thought, if we read the text closely and reconsider its value, in terms of performance and separately from the other longer texts. Above all, the radical abridgement of two hours' traffic, which Q1 Hamlet shows, must have been more suitable for the stage production. As Kathleen Irace says, the neatness of the difference suggests that this structural change might have been a deliberate theatrical alteration designed to speed the action(11). The running time of Q2 or F should be more than 4 hours, which is extraodinarily longer than 2 or 3 hours of the usual productions in the Elizabethan period. The time of 4 hours should be too long for the audience, especially for the groundlings who should stand to see the performance. Q1 has not a few alterations of even famous lines and many spelling errors. One of the most noticeable altered lines is "to be or not to be, ay, there' point." But this is not just the result of a reporter's flawed memory. Whereas "that is the problem" should be spoken in the way of internal soliloquy in which the actor communes with himself, "ay, there's point" must be delivered directly to the audience as a Hamlet's own comment on the line of 'to be or not to be' because he enters, reading a book. "Ay, there's point" is supposed to reflect the Elizabethan acting style which tries to contact with the audience as often as possible. Many of spelling errors in Q1 are not quite different from the common cases, usually found in most early modern texts. Additionally, like 'trapically' which is a pun on 'tropically,' some misspelled words are intentionally coined for more theatrical effect. We must also give attention to the fact that Q1 keeps or more actively uses the couplets which would verbally decorate the last moments of the important scenes and the whole lines of the play within a play in Hamlet. Q1's characters seem to be still simpler than Q2's or F's, but they must be more theatrical. Q1's stage directions describe characters's action or the dramatic situation most detailedly among three Hamlet texts's. Even though Q1's Hamlet doesn't speak "the rest is silence" at his last moment, the very scene just after his death must be silent for a few seconds until Fortinbras and his soldiers appear on the stage. Q1's silence hidden between lines might be able to have voice when it has a space of the stage. As Ann Thompson and Neil Taylor insist, Q1, if staged with speed, energy and talent, not only may provide us with evidence about the nature of a performing text in Shakespeare's theatre, but may even, as theatre, be 'not bad, but excellent'(37).

한국의 뉴 밀레니엄 셰익스피어

이현우(Hyon-u Lee) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.3

Korean theatre has been experiencing the unprecedented Shakespeare boom since 1990. During the last two decades, 411 Shakespeare productions were performed in Korea; 38 foreign Shakespeare productions met Korean audience, and 373 Korean Shakespeare productions were produced. Furthermore, many Shakespearean productions including Oh Tae-suk’s Romeo and Juliet, The Tempest, Lee Youn-taek’s Hamlet, Yang Jung-ung’s A Midsummer Night’s Dream, Han Tae-suk’s Lady Macbeth, Won Young-oh’s Hamlet from the East, and Kim Myeong-kon’s King Uru, Kim Nak-hyoeng’s Macbeth, which recorded significant successes at home, were invited abroad and received very positive responses from the audience as well as the critics, and were given many awards in various kinds of international theatre festivals. Korean Shakespeare can be truly said to meet Renaissance in the New Millennium. This paper presents the Korean Shakespeare production list from 1990 to 2011, which records production titles, theatre companies’ and directors’ names, and the performance styles. Also, it defines the characteristics of the Korean Shakespeare productions during the last two decades as four elements such as populism, feminism, shamanism, and traditional Koran theatre style.

텍스트를 넘어선 통합적 셰익스피어 교육방법론 연구

이현우(Hyon-u Lee) 한국셰익스피어학회 1999 셰익스피어 비평 Vol.35 No.1

Populist Shakespeare in Democratized South Korea

Hyon-U Lee(이현우) 한국셰익스피어학회 1997 셰익스피어 비평 Vol.30 No.-

Shakespeare's Dramaturgy about the ‘Pit’ Space

Hyon-u Lee(이현우) 한국셰익스피어학회 2004 셰익스피어 비평 Vol.40 No.2

글롭 극장을 포함한 셰익스피어 동시대 극장의 가장 주요한 특징은 무대가 객석 깊숙이 돌출되어 들어가 있었으며, 그 삼면이 관객들에 의해 둘러 싸여 있었다는 점일 것이다. 이렇게 무대와 객석이 직접 맞닿게 되는 소위 ‘피트’ 공간에는, 2-3 시간 이상을 꼬박 서서 관람하면서 공연이 맘에 들지 않으면 야유를 퍼붓고, 심지어 사과, 오렌지, 돌맹이 등을 던지기 까지 했던, 마치 오늘날의 축구장 훌리건들 같은 거칠고 격정적인 하층민 관객들이 가득 채우고 있었다. 따라서 셰익스피어 및 그 동시대 극작가들은 공연 상황에 절대적 영향을 미칠 수 밖에 없는 이 피트 공간의 관객들을 보다 효과적으로 통제할 목적으로 여러 가지 극적 전략을 동원했는데, 특히 방백, 독백의 잦은 사용, 그리고 광대 배우의 활용 등은 그 대표적인 예들로서 간주되고 있다. 그런데 중세 이 후 르네쌍스 시대까지 영국 연극은 관객들의 반응, 특히 무대를 에워싸고 있는 야드의 서서 보는 관객들의 반응을 통제하고 조종하기 위한 훨씬 더 능동적이고 효과적인 방법을 동원해 왔다. 즉, 『요크 순환극』, 『인간들』, 『풀겐즈와 루크리즈』 등의 도덕극 류의 중세 연극 뿐 아니라 『불타는 몽둥이의 기사』, 『정신없는 양치기』 그리고 『꽃의 가면극』, 『내실 사원의 가면극』 등의 셰익스피어 동시대 또는 그 이 후의 몇몇 극작품들 속에서 명확히 언급되고 있듯이, 배우들이 서서 관람하는 관객들 속에서 연기를 하거나 관객 사이를 헤집으며 등퇴장 입구로 이용하는 것이다. 이렇게 배우가 무대 주변의 피트 공간을 연기 공간의 일부분으로 활용하는 것은 유사한 공연기법을 활용하는 현대의 많은 연극 공연들에서 흔히 목격되듯이, 극 속의 상황이 무대가 아닌 관객들의 현실 속에서 일어나는 것 같은 생동감과 현장감을 불러 일으키며 관객의 반응을 더욱 극적으로 자극하고 통제할 수 있는 수단이 된다. 런던에 재건된 새 글롭 극장에서도 피트 공간을 연기 공간의 일부로서 적극적으로 활용하고 있다. 하지만 앤드류 거를 비롯한 많은 셰익스피어 학자들로부터 이러한 공연방식은 비셰익스피어 적인 것이라고 공격 받고 있다. 셰익스피어 텍스트 어디에도 배우들이 야드를 연기 공간으로 활동한다는 언급이나 직접적인 증거가 없으며, 더욱이 1604년 출판된 토마스 미들튼의 〈블랙 북〉에 묘사되어 있듯이 글롭 극장 무대에는 무대와 피트 사이를 가로 막는 무대 난간이 설치되어 있었던 것으로 여겨지기 때문이다. 그러나 필자는 〈햄릿〉의 오필리아 장례 장면, 특히 레어티즈가 오필리어의 무덤에 뛰어들고 햄릿이 뒤따라 뛰어드는 장면에 대한 Q1, Q2, F2 텍스트의 무대 지문 상의 차이 속에서 셰익스피어가 피트 공간을 연기 공간으로 활용했을 가능성 및 무대 난간 설치를 전후한 피트 공간에 대한 극작술적 전략의 변화 과정을 엿본다. 이러한 맥락에서 본 논문은 오필리어 장례 장면과 〈햄릿〉 Q1, Q2, F1 텍스트의 무대 지문, 그리고 이를 형상화하고 있는 대표적인 공연이나 필름에 대한 통합적 분석을 통해 셰악스피어의 공연술 내지 극작기법에 피트 공간을 추가할 수 있는 이론적 토대를 마련하며, 나아가 피트 공간 및 무대 난간과 관련한 셰익스피어 극작술의 발전과정의 일면을 조명해 보고자 한다.

Russell T Davies’s Visualization of the Invisible War in A Midsummer Night’s Dream

Hyon-u Lee(이현우) 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.4

A Midsummer Night’s Dream, which is generally believed to be written originally for an aristocratic wedding, must be one of Shakespeare’s most amusing and festive comedies. But, in fact, the background of Dream, which starts with Theseus’s confession that he conquered the Amazons and won their queen by his sword, is full of violence, brutality, climate crisis, natural disaster, and social problems of tyranny and an oppressed lower class. Russell T Davies’s 2016 television film of Dream emphasizes vividly the dark aspect of the original play, with the tyrannical court of Athens as its setting. In this film, Theseus is a fascist dictator and his court is filled with pseudo-Nazi flags and soldiers. Hippolyta, a prisoner of war, wears a straitjacket and Hannibal Lecter facemask, which are not taken off even on their wedding day. Oberon and Titania’s fairies appear as fierce soldiers rather than romantic ones, and the mechanicals’s fear about hanging is true and serious. Although all the conflicts are solved by Oberon and Titania’s magic at the last moment, the whole film is surrounded by warlike environments. This paper illuminates fully the dark aspects of Dream and to explain how effectively the darkness of the play works to reflect our contemporary world by analyzing Davies’Dream in detail.