피터 그리너웨이 영화의 대중성과 예술성 - <제도사의 계약>(The Draughtsman’s Contract)을 중심으로 -

백로라 ( Paek Ro-ra ) 숭실대학교 인문과학연구소 2004 인문학연구 Vol.34 No.-

It seems to me that a contemporary cinema, which is called the flower of popular culture, excites populace’s desire, absorbs it, and even constitutes it in the modem times. Although the cinema exercises its powerful influence upon the popular culture, it is true that it is ontologically caught in a dilemma that a production has to achieve both popularity and artistry. In this respect, this research was first derived from a problematic question related to the cinema that has functioned as the core of contemporary popular culture: how to control a distance between popularity and artistry. In order to approach this issue, I focused on the film of Peter Greenaway who has won acclaim as one of the most remarkable filmmakers in British film history. He usually applies unique cinematic languages, which include poetic allegories and symbols, fragments of exuberantly visual images and double-layered wordplay and puns, to his productions. More significantly, his works have achieved the cinematic aesthetics, which is quite popular and artistic, through literary imagination and pictorial beauty. For this reason, I thought that Greenaway’s film provides me with a clue to solve the dilemma into which the contemporary cinema falls: the popularity and the artistry. Especially, my interest was geared into the Draughtsman's contract that can be situated in the heart of this issue because this film not only is composed of mysterious narrative, which resembles a so-called ‘whodunit’ of Agatha Christie, but also is structuralized by poetic symbols and diverse cinematic techniques. I thought that those cinematic languages involve the popularity and the artistry that Greenaway's film possesses. To sum up, the Draughtsman’s contract shows the relationship among nature, an artist, and an art through various cinematic languages and techniques. Specifically, this film foregrounds a detective narrative and unfolds interesting stories such as a double contract, murder cases, adultery. For this reason, the audience is compelled to see the pictorial scenes and to read the significance which is concealed under the surface of the narrative. While the movie-goers are actively enjoying this film such as a kind of puzzle game, they come to reconstruct fragmented narratives and images. As a result, they are forced to realize the relationship among the garden of Campton-Anstey, Neville’s identity as a draughtsman, and his drawings. In other words, audiences inevitably arrives in the center of the cinematic garden entitled The Draughtsman’s Contract that Peter Greenaway designed and decorated aesthetically. Consequently, Peter Greenaway’s film makes the audience enjoy an exciting entertainment and experience exuberant cinematic aesthetics as well. This fact might explain both the reason and the way that Peter Greenaway’s films have achieved the popularity and artistry.

1960년대 오태석 희곡 연구

백로라 ( Ro Ra Paek ) 한국연극사학회 1999 한국연극연구 Vol.2 No.-

현대 공연학 이론의 주요 쟁점과 미디어 테크놀로지 연극 : 라이브니스(Liveness) 이론과 우스터 그룹(the Wooster Group)의 <햄릿>(Hamlet)을 중심으로

백로라 ( Ro Ra Paek ) 한국연극학회 2008 한국연극학 Vol.0 No.34

로버트 윌슨 연극에 나타난 이미지의 구조와 지향성 -《해변 위의 아인슈타인》과 《햄릿머신》을 중심으로-

백로라 ( Ro Ra Paek ) 한국연극학회 2005 한국연극학 Vol.0 No.25

Since the mid-1970s, Wilson has been deemed a remarkable, creative, and imaginative director in the sphere of American theater and, indeed, the world over. Creating his own theatrical aesthetics, Wilson has furnished his audiences with wondrous and dream-like time and space. Wilson`s style is distinct from traditional realism styles and from the 1960`s American Avant-garde styles. The thematic focus in my research lies in difference, in other words, in the uniqueness and the creativity of Wilson`s productions. His brand of theater displays aesthetic characteristics that derive from the manners in which he deconstructs and reconstructs languages, sounds, gestures, and movements on stage. Rather than embrace, either in part or in whole, a logical narrative, Wilson carefully and systematically fashions his narratives from collages of various images. For this reason, some people regard his productions as evoking dream-like worlds; on the other hand, others cannot break free from the grip of confusion that arises from the debris of Wilson`s fragmented images. However, there can be little doubt that such images possess an aesthetic structure that originated in Wilson`s desires and views of the world. In Wilson`s works, the symbolic representation of desires and points of view hinge on geometrical images such as the horizontal, the vertical, and the diagonal image. First, the horizontal image is related to temporality. In his theater, objective time and subjective time are juxtaposed with each other as though they represent exterior circumstance and interior consciousness, respectively. The former concerns the time of clocks, which is symbolized by a huge train the latter concerns the time of interiority, which is implied through a selective use of deconstructive-constructive language and through extremely slow movements. Wilson not only manipulates language by conferring to it the properties of sound and rhythm instead of the property of complete meaning, which is supposed to inhere in any adequate meditation on communication, but also experiments with the slow motion movements of his actors in both a temporal and a physical sense. More significantly, such experimental methods and temporal images reflect Wilson`s longing for a time that surpasses the limitations of clock time and reaches toward circular time-space like natural time or ritual time. Second, the symbols that Wilson uses in relation to the vertical image and their relation to spatiality hinge principally on birds but also include bird-like objects such as a spaceship. The existential limitation that is imposed on human beings forces Wilson to dream the bird`s flight. In his works, the presence of human dreaming is revealed through a character who is sitting on a swing or standing on an extraordinarily high crane. On the other hand, trees connote the supplanting of liberation with a captivity that, nonetheless, strives to rise past its roots. Together, these objects are metaphors for flight and transcendence from the earth to endless dream-like worlds. Indeed, the existence of Wilson seems to be embodied in the tree that, with its roots pressing downward, grows branches that longingly reach upward. As identified in the vertical images, Wilson desires another world where people`s freedom and willingness are never oppressed by law, social order, or the logic of language. Third, the diagonal image concerns incomputable, tensional, and unstable situations physically and mentally. Unexpected screaming and unbalanced actors` postures are a kind of embodiment of the diagonal image, which gives Wilson`s productions a strong tension. Generally, the tension is sensed when actions or moods change. As an example, in <Hamletmachine>, Hamlet spreads both his hands like a bird and stands on one foot in stillness. This posture shows a diagonal image that is filled with strong tension. In this scene, his posture implicitly suggests not only his desire to fly and escape from a given situa

논문 : 1980년대 실험연극의 담론 연구 , 마당극의 연극적 양식화 및 서사극 수용을 중심으로

백로라 ( Ro Ra Paek ) 민족문학사학회·민족문학사연구소 2011 민족문학사연구 Vol.47 No.-

본 연구는 70년대로부터 출발한 한국 실험연극이 80년대에 이르러 대중적 기반을 확보하면서 토착화의 단계에 접어들기 시작했다고 전제하고, 70년대와 90년대 이후의 연극을 매개하는 80년대 실험연극의 미학적 전통과 그 연극사적 의미를 밝히는 데 궁극적 인 목적을 두고 있다. 또한 보다 체계적이고도 심도 있는 연구를 위해, 70년대 실험극의 미적 원리를 발전적으로 계승하면서 90년대 이후 실험극의 흐름에도 깊은 영향을 미쳤다고 판단되는 80년대의 주요한 움직임 중에서도 특히 ``마당극``의 양식 실험과 ``서사극``의 수용방식에 관해 논의를 집중하였다. 마당극은 70년대 실험극의 연극적 지향성을 계승하여 한국의 전통미학을 현대적인 양식으로 발전시키고자 하였다면, 서사극은 서구의 실험적인 연극 양식을 한국적 토양에 맞추어 선택적 혹은 절충적인 방식으로 수용하고자 하였다는 점에서 변별된다. 그러나 서로 다른 양식적 기원과 연극적 지향성을 가지고 출발하였음에도, 마당극과 서사극은 새로운 양식을 실험하는 과정에서 ``한국 연극의 정체성``, ``대중성``, ``현대성`` 등을 강하게 의식하였다는 점에 서 공유하는 바가 크다. 이러한 점을 고려하여, 본 연구는 80년대 마당극의 양식 실험과 서 사극의 수용 과정을 분석적으로 검토하여, 그 연극사적 의미를 밝히고자 하였다. This research explores the historical significance of Korean experimental theater in the 1980s, which links the experimental theater of the 1970s and 1990s. This historical account assumes that Korean experimental theater began in the 1970s and became developed and popularized in the 1980s. While the experimental theater of the 1980s perpetuated some of the aesthetic legacies of the 1970s, it exhibits other aesthetic and spiritual characteristics that distinguish it from 1970s theater. The theater of the 1980s attempted to reinterpret Korean traditional styles from a modern viewpoint, similar to that of 1970s experimental theater. However, it also reflects diverse 1980s features such as the socio-political situation, the public`s emotions and consciousness, and the spirit of the times. For an in-depth study of the experimental theater of the 1980s, this research will analyze the discourses that focus on the stylization of ``Madang theater`` and the acceptance of ``Epic theater``. Although these theatrical traditions have different stylistic origins, they share similar theatrical concerns such as ``identity of Korean theater``, ``the popularity and sociality of theater``, and ``modernity`` in the course of experimenting with new styles. For these reasons, ``Madang theater`` and ``Epic theater`` represent 1980s experimental theater in that they not only capitalized on the outcomes of the 1970s but also aimed to fulfill the demands of audiences and the theatrical world of the 1980s. In sum, this research will explore how both theatrical styles took root in Korean experimental theater. Ultimately, this exploration will contribute to understanding not only the development of Korean experimental theater since the 1970s but also the aesthetics of experimental theater as it continues to develop to this day.

논문 : 박정희 연출론

백로라 ( Ro Ra Paek ) 민족문학사학회·민족문학사연구소 2013 민족문학사연구 Vol.52 No.-

박정희는 2000년대 이후 한국 현대연극의 영역에서 독자적인 위치를 점유하고 있는 실험연극 연출가로서 현재 연출 작업을 지속하고 있는 동시대 연출가에 해당한다. 이것은 박정희 연극에 대한 다양한 비평적 논의에도 불구하고 학문적 연구가 활발하게 이루어지지 않았던 이유 중의 하나가 될 것이다. 박정희처럼 왕성한 공연활동을 지속하는 동시대 연출가들의 경우, 그 연출 미학적 세계가 변화와 발전의 단계에 놓여 있기 때문에 학문적 연구의 대상에서 흔히 제외되어 왔던 것이 사실이다. 그러나 연출가 연구가 완성된 연출세계를 구축하고 있는 이전 세대의 연출가들에 제한된다면, 다양한 연출 담론의 전개를 기대하기 어려울 뿐만 아니라, 그 연구 성과가 공연 현장과 괴리되는 현상을 초래할 가능성이 크다. 본 연구는 바로 이러한 문제의식으로부터 출발하여, 2000년대 이후 현재까지 활발한 공연 활동을 전개하고 있는 연출가 박정희를 연구 대상으로 삼아, 그 연출방법과 미학적 특징에 대한 본격적인 논의를 전개하고 있다. 구체적으로, 첫째 박정희 연출 미학의 토대가 되는 연출의 기본 배경과 원리에 대해 밝히고, 둘째 극단 풍경의 공연활동을 중심으로 구체적인 연출 작업과정 및 방법을 검토하며, 셋째 주요 작품에 드러난 연출 미학적 특징을 분석하고, 넷째 그 연출 미학적 성과와 한계에 대해 논의하였다. 이러한 논의는 박정희 연극을 보다 심도 있게 이해할 수 있도록 해주는 한편, 박정희 자신뿐 아니라 신진 연출가들이 앞으로 새로운 연출 방법론을 모색하는 데 일정한 방향을 제시해 줄 것이다. This study explores the directing esthetics of Jeonghee Park, one of the most compelling directors in contemporary Korean theater. Ever since her debut production of <Maids> in 2001, Park has been regarded as a prominent female director and brilliant experimental dramatist, noted for her ingenuity with texts and exquisite on-stage expressions. Her subsequent major works, including <Pyong Sim> (2003), <Balcony> (2004), <Railway> (2009), and <Marat, Sade> (2009), have received high praise from not only theater critics but audiences for their skillful combination of philosophical thinking and symbolic images. Although many theatrical reviews have praised the esthetics of Park`s productions, her directing has not yet received a systematic, in-depth analysis. This neglect seems to reflect Korean academics` frequent tendency to overlook contemporary directors who are still at the height of their careers and in the process of changing and developing their styles and methods. By contrast, this study starts from this exact phase of Park`s career to raise questions about the conventional restrictions on studying contemporary directors. If research on directors continues to focus only on those of the previous generation who have already fully consummated their directing esthetics, serious gaps will exist between the insights of research and current developments on stage. To begin filling in those gaps, this research has a twofold purpose in investigating Park`s directing methods and esthetic principles : first, to expand current discourse on contemporary directing esthetics second, to provide insights that could inform contemporary theatrical productions. This systematic and in-depth analysis of Park`s directing includes the following parts : investigation of the basic background and principles of her directing; examination of her working process and methods; analysis of her directing esthetics` characteristics as manifested in her works; and finally, discussion of the contributions and limitations of her directing style and methods. In sum, this study aims to identify, analyze, and evaluate the underlying principles and structure of Park`s directing esthetics. Its intended results are to increase and intensify scholarly interest in contemporary directors and to contribute to the changes and developments that continue to occur on the Korean stage.

재일동포 한국어 희곡에 나타난 주체문예 이론의 수용 양상과 '민족' 이데올로기 : 서상각 희곡을 중심으로 focused on the Drama of Sanggark Seo

백로라 한중인문학회 2006 한중인문학연구 Vol.17 No.-

본 연구는 재일동포 한국어 희곡의 전형적인 특징을 보여주는 서상각 희곡을 대상으로 하여 작품에 나타난 북한 문예이론의 구체적인 수용 양상을 살펴보고, 이를 통해 작가를 포함한 재일동포들이 집단적으로 공유하고 있는 민족과 조국이라는 개념 속에 어떠한 이데올로기적 의미와 현실적 의미가 침투되어 있는지 밝혀보고자 하였다. 재일동포 한국어 희곡은 북한의 문예이론 중에서도 주체이론에 기초한 사회주의적 사실주의를 창작방법론으로 선택하고 있는데, 그것은 구체적으로 '민족적 형식'과 '사회주의적 내용'을 텍스트에 구현하는 것이라 할 수 있다. 북한의 희곡에서 그것이 성황당식 연극형식에 공산주의적 혁명의식을 다룬 것으로 나타났다면, 재일동포 희곡에서 그것은 한국어로 된 대화극 형식에 당위로서 주어진 주제와 현실로서 인식되는 주제를 동시에 다루는 것으로 나타났다. 극형식에서 한국어 표현을 통해 민족의식을 환기 혹은 고취시키고, 북한의 정치적 이념을 표면적으로 드러내는 동시에 민족과 민족의식에 대한 자각을 강조하였던 것이다. 이처럼 정치 이데올로기에 함몰되지 않고 '민족'에 대한 동포 나름의 인식을 반영하고 있다는 점에서, 재일동포 한국어 희곡은 북한의 희곡과 결정적으로 변별된다. 재일동포 한국어 희곡에서 발견되는 민족과 민족의식은 국민국가 수립을 위한 관념적 이데올로기의 실체가 아니라, 민족적 차별과 소외라든가 강요된 민족 동화의 상황 속에서 스스로의 정체성과 실존성을 보존하고자 하는 욕구의 소산물이다. 그것은 또한 조국의 분단과 일본의 단일민족 이데올로기의 틈바구니에서 경계인, 이방인, 유랑민으로서 살아온 동포들이 서로 단합하고 결속하기 위해 지속적으로 견지해 온 정신적 구심점이기도 하다. 혈연, 언어, 문화, 역사의 동질성을 바탕으로 구성된 재일동포들의 '민족' 개념과 '민족의식'은 오랜 세월 동안 견지되고 출적되어 개인의 의식 속에 내면화되면서 그들의 삶을 움직이는 정신적 뿌리로 작동하고 있다는 점에서 이데올로기적 성격을 강하게 띠고 있다고 할 수 있다. This Research explores two kinds of issues which are arisen from the Korean language drama by Korea-residents in Japan through works of Sanggark Seo that represent the most typical characteristics of those dramas: adopted aspects of "Juche" theory in the dramas and national ideology of Korea-residents in Japan. The former is related to the general and typical features of the Korean language dramas by Korea-residents in Japan, the latter involves their specific notion which has never been changed since the playwrights started to write works. In this sense, exploration of two issues ultimately purposes to understand the typical form and content of the dramas and to unveil significance of ideology which has been internalized in consciousness of the playwrights and general Korean-residents, historically and individually as well. This research came to the following results through analysing drama texts of Seo that have been presented from 1960 to 1990. Firstly, the Korean dramas apply the 'national form' and 'socialistic content' as a writing methodology, which are derived from North Korea's "Juche" theory, to their drama texts. Although the Korean dramas adopted the literary theory of North Korea as a crucial writing methodology, they interestingly displayed different aspects from North Korea plays in detail. Rather than a style of "Seongwhangdang" theater and revolutionary idea of communism, they choose a form of a kind of dialogic play in which Korean language can be fore-grounded and incorporate the conflicting ideas that involve both a political position related to North Korea and resident reality in Japan. Through such specific form and content, secondly, the Korean drama intends to evokes national spirit for Korean-resident audiences or readers in Japan. To put it concretely, it seems that the dialogic form brings some powerful effects to audiences in the process of a performance which is acted by Korean-spoken language: to teach naturally a mother language, to inspire the necessity of its education, and to imbue them with national identity. On the other hand, the content which includes a unstable position, a unsolved nationality problem, deprived civil right, and memory of the oppressed embodies a given notion that came from the form. As a result, a nation and national consciousness seem to be a crucial notion for Korean-residents and playwrights in Japan in that the notion functions a sort of spiritual root and centripetal force for them. The collective feeling and idea are generated from awareness of same nation that shares ties of blood, a language, and national culture or history. Besides, the national consciousness which are internalized in the mind of individuals enables them to keep their identity and existence in the previous colonizer, Japan in which ethnical discrimination and isolation still exist. As for Korean-residents in Japan, in this sense, it can be considered as the most powerful ideology that is required and given in their reality.