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랜포드 윌슨의 희곡작품에 나타난 미국의 이미지 : Talley's Folly와 5th of July를 중심으로 His 5th of July and Talley's Folley
柳英均 서울市立大學校 1992 論文集 Vol.26 No.-
Lanford Wilson's 5th of July and Talley's Folly are considered by many critics as his best crafted major works although they seem minor in their length and scope. Henry I. Schvey, a critic, highly praises Wilson's Talley's Folly by saying: "Paradoxically, by trying to do less, the playwright has actually accomplished far more; by paring the work down to its bare essentials and creating two such convincingly alive characters as Matt and Sally, Lanford Wilson indicates for the first time the promise of a major talent." It is apparent that Talley's Folly is thematically and stylistically related to most of his other plays. Most of Wilson's works are concerned with the relationship between the individual and the past. And there are many stage images that implicate the faded old glory of America or the shattered remnants of what's called The American Dream. In his later works, he uses the stage setting metaphorically to suggest a special relationship between the characters, their past, and their hope for the future. This stage scenery, for instance, the soon-to-be demolished hotel in The Hot L Baltimore or the dilapidated old boathouse in Talley's Folly, offers us a clear mental picture by which we could easily understand the psychological state of American intellects, their frustration and hope for the future of American especially after the two major wars-World War II and Vietnam War. We find an especially conspicuous thematic and stylistic affinity between his two most recent works, Talley's Folly and 5th of July. What distinquishes the most sharply these two plays from Wilson's other plays, however, are, according to Schvey, "his careful avoidance of cliched sentimentalized characterization. and his willingness to refine, to hone, his dramatic world down to its bare essentials."
Sam Shepard의 Angel City에 투영된 영화산업의 자가당착
柳英均 서울市立大學校 1991 論文集 Vol.25 No.-
One of the most conspicuous features of the 20th century will be the appearance of films and film industry. Owing to the technical development in the concerned fields, feature films and mini-series produced for television, cable and pay television, and particularly those video-taped films allow easy access in millions homes to films recently released to the movie theaters. Nevertherless, it is often difficult to say with certainty whether the spectators of all those films of various modes witness the revelation of the truth or constitute the action as true. More often than not, it doesn't really matter to the spectators let alone to the producers. Many films of today are produced as no more than products of commercial business. And for that reason, they are more likely to offer us nothing but pipedreams or disposable fantasies, which prevent us from grasping the truth (if there's any) or from understanding our reality as they way it really is. Thus, more than any other previous periods, modern men of the late twentieth century often find fantasy and reality confused or even reversed. Sam Shepard is a scornful pop-culture addict. In other words, he has a double feeling for pop-culture--particularly for movies. And, in Angel City, we find such doubleness of his feelings--his heroes' Tom Wing field-like yearning for dream-machine identities and his own recognition of the self-destructive power in such yearnings. Rabbit is told his job is to save the film by creating "a meaningful" central character. What is wanted, Wheeler says, is "hard core disaster." Sheaprd is trying to say here that Hollywood has locked everyone into "the narrowest part of our dream machine" to prevent the evolution of any vital dreams or myths. The filmmaker's disaster film here inevitably reflects his own repressed nightmares of death and chaos, and they emerge into being during the apocalypse at the end of the play. A story pattern typical of those disaster films or monster films is that once a disaster or a manster is created, the creator may come the victim of his own creation. We must be aware that we the spectators are the very creators of those disaster films. They are created by filmmakers mainly because we wanted such films. Therefore, we must also be aware that we are the victims of our own creations.
THE SOCIAL CONTEXT OF DENIS FONVIZIN'S COMEDY THE MINOR
Ryu,Yung kyun 서울市立大學校 1982 論文集 Vol.16 No.-
Shakespeare는 그가 創造한 不朽의 劇中人物 Hamlet의 입을 빌려 演劇을“holding a mirror up to nature”라고 定義하고 있다. 演劇에 대해 여러 각도에서 多樣한 定義가 可能하겠지만 演劇의 社會的 機能面을 생각할 때 한 시대의 社會相을 超然하게 그리고 客觀的으로 비쳐 볼 수 있는 사회의 거울로서의 演劇의 機能을 無視할 수 없다. 모든 人間狀況과 行動樣式은 그가 속한 時代의 社會的 環境 속에서 일어나며 演劇이 本質的으로 人間의 問題를 다루고 있다는 점에서 볼 때 作家의 意識的인 意圖가 있든 없든지간에 그 作品 속에는 그 작품이 씌여진 時代를 어떤 면에서든 反映하는 바가 必然的으로 있게 마련이다. 한편의 戱曲이 그 戱曲이 씌여진 時代의 사회적 背景에 대한 理解 없이 제대로 鑑賞되어지기 어려운 경우가 많은 까닭도 바로 이러한 점에 起因한다고 본다. 本文에서는 戱曲文學 중에서도 悲劇과 비교해 볼 때 喜劇이-특히 諷刺劇이-지니는 社會性 (Social implication) 이 훨씬 두드러 진다는 점을 說明하고 이러한 觀點에서 Denis Fonvizin의 The Minor 의 社會的 背景을 이루는 여러 要素들을 調査 하고 이러한 資科들을 통해 얻어진 觀點에 비추어 이 作品을 解析해 보려 試圖했다.