자기반영적 연극에서의 극중극과 치유 = Theatre within a theatre and Healing in Metadrama

다국어 초록 (Multilingual Abstract)

Why are plays still alive in this digital era? That is because they cleanse, recover and heal people. By getting involved in characters performed by actors, and the story, the audience forms interactive relationships with them. A play-within-a-play is one of the major techniques of metadrama, which effectively directs the theme mirroring/voicing the essence of what the play tried to say. In metadrama, the connection of the reality to fantasy and their interaction blur the boundaries between the real life and art, or fascination. Empathy envisioned by play-within-a-play, or the attachment to the implied issues of the characters, as well as the consequential changes are evidence that a play is a cure to the soul of people. The characters renewed after those "inside plays", and their recovered egos reveal the essence and rebuild selves-just as a play is meant to do. Woon-hyung Park in The Song of Sorrow tries to heal his sore experience in the Gwangju city through Acropolis by Grotowski, the Poor Theatre. The recurring inside plays are the only method to maintain him as an actor. And that is also the song of sorrow borne by the people who have survived the massacre. The play sheds light on both of its book, which shows the self-reflection of an agonized artist, and the nature of a play. Sangsaju is another play from Lettice and Lovage by Peter Shaffer, which was tailored for Korean audience and earned their heart. The female lead role and sensitive actor Ju-yon Han visualizes Sang-ae Ji, the scarred, desperate ego for her obligated life. In this monodrama about travel information, there are six rounds of plays-within-a-play connected to the story line and the personalities of the roles in multiple forms. Its base theme grows by these inside stories to show the dominance and victory of plays. Han`s passion for plays strongly drags every role in the play to her in order to end up in settlement and emotional sharing. Her part bears multi-layered meanings and looks into the metadramatic features, ranging from exploring fundamental factors of a play, and creation techniques to philosophy. Orphan Muses, a translation of Les Muses Orphelines by Michel Marc Bouchard, is a story about four children who are finding their egos after abandoned by their mother. Here the play-within-a-play serves as the bridge to their discovery. The reinterpretation of a son`s novel about her mother exhibits their past and present, reality and the fantasy, and disappointment and love, while such interactions and co-existence reshape that past. These inside play "rituals" work to re-create the children`s selves, as well as that of mother, even though she never appears during the play. These three plays studied in this paper are each dramatized, adapted and translated from major works by active, representative writers today. These mirror people, their history, and in-depth reflection into human lives on the basis of post-modernistic views. The characters in these stories overcome and are healed through the play-within-a-play, and by doing so, they prove the positive values of plays. The diverse roles of plays-within-a-play and their aesthetical uses would help create many approaches to plays and have an encouraging influence to the development of creative plays in Korea.

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