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박일형(Ilhyung Park) 한국비평이론학회 2012 비평과이론 Vol.17 No.1
The Author by Tim Crouch critically reviews the theatrical experimentation to overcome the media representation of violence concentrating on the internal structure of drama. He rereads Sarah Kane’s Blasted from the point of spectatorship. What Kane was pursuing is to deliver the experience of violence to the spectator which is concealed by the simulacra of media event. Basically it was an attempt at abolishing the epistemological distance that separates the spectator from the victim of violence and provoking the spectator to step out from the reserved seat of passive spectator and to take action. However, according to Jacques Rancière, it is the desire to abolish the distance that creates it. Kane makes the mistake of handing down the legacy of Plato’s notion of mimesis that centers on the belief that theatrical medium is the evil and should be eliminated for the presence of community. Epistemological distance is not an evil to be abolished but the normal condition of any communication. It is not the difference of knowledge that should be bridged between teachers and students. An emancipated spectator in its true meaning is not an active subject that overcomes the inactive position as an observer but the spectator that is freed from the inequal position assumed by students who are forced to pursue the knowledge handed down by teachers. Crouch takes a step back from the arena of violence. Rather than present the excessive violence on the stage, he makes the spectator to imagine, interpret, and analyze violence. In his view, theatrical violence is not so much the object of representation or spectacle as that of conceptual reconstruction, it is closely linked to the cognitive and emotional state of the spectator rather than the embodiment of actors. Crouch has gotten rid of the stage and placed the audience at the center of the drama in the Author. At first, this looks like an attempt at materializing an “active” audience emphasized by Kane and Postdrama. But by eliminating the spectacle, rather than abolishing the theatrical medium, it recuperates the original significance of viewing. By transferring the weight of the drama from the author, director, stage and actor to the spectator, he raises the issue of pedagogic stultification within theatrical presentation that places the spectator at the far end of the effect of drama. Such an attempt by Crouch not only offers critical overview of Kane’s legacy but also echoes recent critical discussions on the violence of media and visibility.
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박일형(Park Ilhyung) 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.2
This thesis analyzes the framework of Alain Badiou’s criticism on Samuel Beckett and unravels its ethico-political implications. The objective is to go beyond summary and introduction of Badiou’s criticism and to point out its limitations. Furthermore, an attempt is made to expand the discussion of Badiou’s criticism, often heavily concentrated on Beckett’s novels, to theatre. For this purpose, analysis of Catastrophe, a short piece that contains the most direct political homage among Beckett’s entire oeuvre, shall be undertaken. Badiou, known as the last patron of modernity in direct confrontation with postmodernism and a radical leftist, published four critical essays on Beckett in the 90’s. Interest in Badiou stems from the fact that his analysis provides a new potential in ethico-political interpretation of Beckett which was in a deadlock for quite a long time. Badiou reads the project of ethical thinking toward the image of subject and the other as opposed to absurdity and namelessness, and difference and repetition that existentialism or deconstruction focused on. Badiou opposes the critical tradition that links Beckett’s work with the annulment of the subject or a solipsistic world view, and thereby stipulates Beckett as a nonpolitical and apolitical writer. However, his argument reveals its limitation when Beckett’s work such as Catastrophe is read and analyzed more carefully. Because this particular piece shows how human life is manipulated by aesthetic representation and how the public’s ethical presumption and social consciousness are formulated by this process. Beckett appears to reveal the theatricality of politics that sustains and promulgates a political possibility rather than illustrate subjectivation based on a radically new event. What this piece discloses is not the possibility of subjectivation but the bare life that is excluded and silenced by political subjectivation.
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베케트와 산문의 윤리 -『어떠한지』에 대한 바디우의 독해
박일형 ( Ilhyung Park ) 21세기영어영문학회 2016 영어영문학21 Vol.29 No.4
Samuel Beckett`s How It Is portrays the fundamental problematics of Beckett`s literature through bold condensation and ellipsis while expanding the boundary of the genre of novel into the unknown. The plot and characters are dramatically reduced while conversation and description are completely absent. What remains is an endless monologue without punctuation. What makes critics hesitate is not simply the profound convolution but also images of unprecedented violence and torture. Actions such as thrashing heads or poking the butt with a tin opener may seem like comic relief but in the end they produce an extremely dark and bizarre image along with the situation of the muddy field. One interesting point is that the negative attitude shared by critics is in stark contrast to the reaction shared by some philosophers on this particular work. In particular, Alain Badiou`s view is notable in that it expresses a differing thought from that of general Beckettian studies as well as other philosophers. Badiou suggests that Beckett has moved from the stage of dissolution of the subject to the stage of `affirmation` of the other in the purest sense of the word. As such, it provides the opportunity for not the dissolution but the reaffirmation of the subject. For Badiou, the encounter with the other opens up the possibilities of event. Consequently, the subject is reborn through the fidelity toward the possibilities. What is more suggestive of Badiou`s approach is that such a perspective allows the negativity that has defined Beckett`s literature to transform into an affirmative ethics. Badiou`s analysis of How It Is is carried out through bold philosophical appropriation but can be viewed as the most innovative interpretation of the work.
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박일형 ( Park Ilhyung ) 한국현대영어영문학회 2017 현대영어영문학 Vol.61 No.1
For the past decade, the problematics of ethics have positioned themselves firmly in the contemporary British drama. Tim Crouch`s four plays, My Arm, An Oak Tree, ENGLAND and The Author, offer a close inspection of ethical discourse on the British theatrical field following the emergence of In-Yer-Face theatre, and by doing so, Crouch attempts to redefine the ethical potential inherent within theatricality. The significance of Crouch`s plays within the context of ethical aspects of theatricality lies in the fact that his entire range of plays focuses on emphasizing spectatorship. His plays are void of any form of stage props, costume or lighting; dramatic narrative evolves solely through the encounter between actors and spectators. By preserving the traditional elements of theater, Crouch`s plays concentrate on rekindling and expanding the essential and potential role of spectators. This paper intends to review some of the ethical discourse surrounding recent developments in the English contemporary drama from In-Yer-Face theatre to postdrama and to analyze the ethical implications of spectatorship in Tim Crouch`s plays. (Hongik University)
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박일형(Park Ilhyung) 한국현대영미드라마학회 2009 현대영미드라마 Vol.22 No.3
In spite of the deluge of references to philosophical and literary traditions which Samuel Beckett relies on, it is not easy to come across comparative studies with his contemporaries. One of the first to come to mind to those studying Beckett might be Maurice Blanchot. Blanchot, as Beckett’s contemporary, was a writer in the French literary circle and critic who laid the foundation for Beckett studies. He was also one of the few critics who scrutinized Beckett, still an obscure figure in the early fifties, and hence his critical work had a fundamental effect on Beckett studies. But the reason researchers in Beckett have been fascinated with his perspective is not for his status as a major commentator of Beckett, but for the profound relation and similarity between Beckett and Blanchot as well as the significance of Blanchot as the founding father of post-structuralist literary theory. The problem is that specific and objective proofs of their similarity are significantly lacking. The scarcity of material has been the major stumbling block in examining the relationship between the two writers in earnest. But recently, Shane Weller’s and Curt G. Willits’ studies have come up with material proof of the mutual influence that existed between the two writers. Based on their material, tracing the common logic between Beckett and Blanchot shows that they were both obsessed with the notion of ‘the logic of failure’. Beckett himself succinctly described it as “fidelity to failure” which comprises ideas such as negation of language, author without subject and reflection of literature as a general economy. Each of these ideas is consistently and coherently exploited in their literary works. In Beckett, they take the form of a passive author caught in between impossibility and responsibility and narrators who throw themselves into the abyss of non-meaning in pursuit of failure that resists the conversion into success. In the meantime, Blanchot explores these same ideas as neuter, worklessness and the death of the author. But these ideas, unlike what the researchers suggest, cannot be traced back to either of the writers. Rather, their thoughts on failure turn out to be ‘neuter’ in themselves. They are not owned or appropriated by someone. Both Beckett and Blanchot reflect on the ideas simply in response to the demand from the negativity of language. In addition, although it is true that “fidelity to failure” is one of the main features of modernist aesthetics, it is a conception that has assumed its form in the post-structuralist literary theory. Its real form can only be unveiled through an effort at digging up the intellectual layer that various writers have built up around Beckett and Blanchot.
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