극 사실주의의 관점에서 본 Pinter의 극<배신>과 <빅토리아 역>을 중심으로 - = A Study of Harold Pinter's Hyper Realism, Centred on Betrayal and Victoria Station

다국어 초록 (Multilingual Abstract)

This paper studies on the hyper realism of Harold Pinter. His plays usually have links to the Theater of Absurd and to the Realism of 20th century. But Pinter's later plays show some characteristics of hyper realism. Originally, hyper realism is a style of painting which involves the precise reproduction of a photograph in paint. But it attracts many other artists who want to reproduce the existing reality with no apparent comment. It has cool and detached approach, but has a commentary on the hollowness of human beings or society. Similarly, in Pinter's dramatic technique, scenes seem to be caught in some camera angles. His scenes have hyper realistic conventions and settings. Characters speak as though they speak in ordinary everyday life. Their non-communicative languages show that Pinter's theatre is not only a place for representation of hyper reality, but also a place for power game playing. At the end of a love triangle narrative between two men and a woman in Betrayal, we notice that there is nothing but a void, emptiness and loneliness of existence. Pinter uses meticulous technique of hyper realism but his message behind is that of the Absurd theatre, existential uncertainties.

참고문헌 (Reference)

1 "현대 영미극 연구"

2 "영화 기법과 새로운 무대 드라마의 가능성: 해롤드 핀터의 Betrayal을 중심으로" 서울: 한국현대영미드라 마학회 (가을호) : 2000

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