Shakespeare 受容過程 硏究 : 韓國演劇에 미친 影響과 관련하여

오인철 檀國大學校 1987 국내박사

地球上의 모든 種族은 나름대로의 儀式과 演劇樣式을 갖고 있다. 차이점이라면 儀式과 藝術을 共有하는 古典的 形態의 演劇을 갖고 있느냐 아니면 儀式으로부터 完全 脫皮한 劇藝術을 갖고 있느냐 하는 일이다. 東洋人들은 절대적 存在와 人間의 관계는 固定된 것이라는 宇宙觀 때문으로 해서 演劇도 根本的 變化를 꾀하지 않았고 결국은 停止의 狀態에서 유지해 왔다고 하겠다. 가령 우리의 傳統劇이라 할 假面劇을 爲始한 꼭두각시入形劇, 판소리 (音樂劇)등이 수백년동안 양식의 변화없이 존속되어온 것도 그런 思想的 바탕에서 理解될 수 있는 것이다. 그러나 開化期에 접어들면서 이 땅의 演劇은 急變하기 시작했다. 전통적인 사회가 붕괴되고 새로운 近代的 社曾가 形成되는 過程에서 大衆의 感覺的 기호도 변화할 수 밖에 없었고, 따라서 욕구 또한 변한 것이다. 새로운 時代에 부응한 교육은 新文化를 要求했고, 이때 西洋文化의 소개는 大衆에게 큰 충격을 주었다. 이러한 와중에서 西洋文化는 광범위하게 소개되었다. 1910年代 民族自覺의 價値觀이 西歐의 近代思想을 기준으로 삼았기 때문에 西洋文化의 實相을 大衆에게 알릴 必要性을 느낀 것이다. 演劇의 경우도 예외가 아니어서 희랍비극 作家들로부터 近代作家, 作品들까지 번안 또는 번역되기에 이른 것이다. Shakaspeare도 이때부터 비로소 번역, 소개된 것이다. 西洋演劇은 韓國演劇의 方向設定에서부터 方法論에 이르기까지 절대적인 영향을 주었으며 大衆敎養을 얼마나 향상시켰느냐 하는 것을 거의 연구하지 않았다는 이야기다. 그 점에서 西洋演劇의 受容過程을 糾明하는 일은 대단히 긴요하다. 그 중에서도 한국연극뿐만 아니라 文學 그리고 英文學에까지도 대단한 영향을 준 Shakespeare의 移植過程을 究明하는 일은 時急하다. 실제로 Shakespeare는 수 백년에 걸쳐 世界文化에 기여했고 한국문학에 상당한 영향을 미친 그는 英國劇과 별도로 분리, 연구할 가치가 있는 人物이다. 따라서 필자는 多角的인 측면에서 Shakespeare의 受容背景을 규명코자 한다. 그러나 이 分野에 대한 最初의 연구작업이기 때문에 實證的인 바탕에서 比較演劇學 方法論을 動員치 않을 수 없다. 우리의 近代演劇史가 그렇듯 Shakespeare의 受容過程도 이땅의 解放이 대체로 分岐點이 된다. 가령 Shakespeare를 놓고 볼 때도 解放前까지가 우리들에게는 하나의 體驗期라고 한다면 그 以後는 認識期라고 말할 수 있다. 卽 해방 전까지만 해도 Shakespeare는 다만 흠모와 모방의 대상이던 것이 以後에 Shakespeare는 硏究의 대상에 되었다. 드디어 Shakespeare 學의 形成까지를 可能케 한 즈음 崔載瑞란 한 英文學者의 Shakespeare 硏究에의 挑戰은 그간 이 땅에 Shakespeare를 번역, 소개한 玄哲과 金祐鎭으로부터 출발해서 그 뿌린 씨앗을 싹틔워 꽃을 피게 한 金東錫과 薛貞植을 경유해 과감히 Shakespeare의 劇作術을 作品에 도입하여 創作을 했던 柳致眞에 이어서 崔載瑞는 1950年代 후반부터 60年代 초반까지 決定的인 이땅의 Shakespeare 연구에 변화를 가져다 주었다. 崔載瑞는 Bradley의 Shakespeare 悲劇硏究에서부터 나름대로 再整理하여 實證的, 分析的 批評方法에 依한 秩序論的 Shakespeare 藝術論을 확립하고 한국 Shakespeare 學 발전에 획기적인 理程標를 세웠다. 이런 Shakespeare 學의 集大成이란 그의 업적도 方法論的 문제점과 學問的 限界性을 內包한 바 Shakespeare의 作品世界를 Renaissance 및 Elizabeth 朝의 哲學, 科學 그리고 宗敎 등 精神史的 側面과 연관시켜 깊이 考察치 못한 點을 本稿에서는 補完했다. 卽 新Platon 主義的이며 허미즈的인 宇宙論을 考察해서 不完全한 崔載瑞의 秩序論의 確立을 기했다. 本稿에서는 開化期의 교과서를 통한 Shakespeare 紹介로부터 60年代 중반 硏究의 일단락까지를 一次元的으로 명료하게 밝힌 바 目次와 같은 Shakespeare의 소개는 30年代 C.Lamb을 통한 번역,소개에 이어 解放期의 격동과 과도적인 시기를 지나 6.25 戰亂期 直後 Academism으로 바뀌어 전국의 대학들이 발전함에 따라 그 硏究의 深度도 거듭 擴大發展해 나갔다. 끝으로 崔載瑞 以後 Shakespeare 硏究의 과제는 곧 崔載瑞의 限界를 克服하는 것으로부터 出發하는 作業이라 하겠다. In the history of Korean modern literature and , new Korean cultural traditions could have been formed and developed under foreign influences. In order to make modern Korean literary history more systematic it is necessary to research the comparative approaches of Korean literature with European literature which influenced Korean literature covertly and overtly. In particular, among the western countries the developed countries literatures- England, German, France, America and so forth - had absolute influence on Korean literature. For instance, in the case of Korean new drama, Korean drama began to receive the western dramas in the course Korean classical Chang-plays by forces of Japanese new-school plays. The study of Korean acceptance of the western drama is to investigate the history of modern drama and to examine its quality and quantity. Meanwhile, because it is important to determine how Shakespeare, who contributed much to the development of drama world-wide, influenced Korea and how Shakespearean drama played a fundamental role in Korean dramas, they, too, were surveyed. In particular, because Shakespeare has had wide influence on Korean liberal education, literature and Korean dramaturgy as well as the world of Korean works, it is very remarkable to survey the concrete flow, and acceptance process and influential relations. This is also a study investigating the background of the Korean modern spirit. Strictly speaking, the history of modern Korean literature and art is not yet well enough arranged. Especially, these studies are not sufficient in the view of comparative literary approaches. There is a book written by Kim Byungcheol-'A study on the history of Korean modern translated literature' - but it is said that he merely arranged those materials into his book. Therefore, in the present situation i t i s urgent to have more concrete and profound stuies in terms of important authors and countries. This dissertation intends to materially systemize the history of accepting Shakespeare from the point of view of comparative literary approaches This dissertation adapts comparative approaches and actual proof approaches of Korean drama and drama world-wide synchronically. The reason is that it is necessary to the historical approaches as this study is to establish the history of modern Korean drama, and further the history of modern Korean literary art. Owing to the lack of existing studies in this field, it is essential to arrange the related materials in detail and to adapt the actual proof approaches of it. This study aims primarily to arrange the history of accepting Shakespeare in the above mentioned respects with explication. Furthermore, this is an attempt to look for how Shakespeare has influenced and improved the development of modern Korean drama and also how he has bees influential in determining what direction Korean drama would take. Ultimately this dissertation is to contribute to the establishment of the history of Korean drama. It was just the age of englightenment and the sprouting periods in new civilization when William Shakespeare, the English dramatist, was introduced into Korea for the first time. At that time, with a name that looked so strange to the Korean people, Shakespeare seemed to be not a person as dramatist, but the greatest man that ever lived among the great names of history. Therefore, even his works were introduced only partially, not as a whole. In chapter Ⅲ, this dissertation intends to examine the march 1st Korean Independence Movement related with Shakespeare. Although they were poor retranslations, there were Hyunchol's Hamlet and Lee Sangsoo's 'Merchant of Venice' which were translated completely without an abridgement. Furthermore, Korean theatre people within the country had started accepting Shakespeare in order to study or introduce him into Korea ardently by this time. In particular Hyunchol must be given a high assessment as a transmetteur who introduced foreign literary trends and theories. More than that, as a predecessor of the public drama movement he outshone indisputably his contemporaries. Kim Woojin (1897-1925), a leader and one of the great theatrical people who founded the 'Theatrical Art Association' with the tour company 'Dong- woohoe' finished his unfortunate life as a scapegoat of representing ill - fated ages of Korea and not only suffered from the serious problems facing the difficult situation of Korean intellectuals, but also was a dramatist who studied and introduced Shakespeare into Korea ahead of anyone also in his time. In Chapter Ⅳ, dealing with Shakespeare related to the movement of fullscale new rams, above all, the problems of Korean theatrilcal circumstances in the 1930's are shown as below ; The suffering in the 1930's was more painful than the Korean people had known in any other period since the dawn of history. It was also the age of applying heat to Japaness colonialism and the function of Japaness imperialistic viciousness to Korea strengthened the system of plundering Koreans of our property for unifying Korean economic powers. Since the beginning of the 1930's Shakespeare was accepted a little to the mass of the Korean people, for many kinds of papers and magazines contained bits of writing on Shakespeare not as a book but as an article. How new Japanese dramas were able to be transplanted into Korea is divided usually into three periodical phases. The first was called the age of jumping in the 1910's. The second was the age of unprovement in the 1920's. The third was the age of settling in the 1930's. So much as in the 1930's, new Korean dramas, which were designated as commercial drama, were rooted for the first time discarding the tradition of Japannese style for our own. This was the age of readjustment i n new Korean dramas in our own way. Upon this opportunity the climate of Korean dramas has been changed and improved to penetrate European realism or natural ism so that European theatrical theories introduced Shakespeare into Korea and expanded theatrical criticism along with the experimental stages of modern Korean dramas. In Chapter Ⅴ, dealing with the problems on Korean Liberation in relation to Shakespeare to it , theatrical conflict after Korean Liberation is depicted. It is said that August 15th Korean Liberation in 1945 constituted the most important event in the history of Korean literature during the twentieth century. Like the result indicated by lots of the learned people, because is was not independence but a Liberation, it was quite different from the earlier literary condition before the Liberation. The trends of Korean dramas since the Liberation, took a new turn into three categories : the first was enlightening realism the second a socialistic realism that showed strong political consciousness, and the third was new commercial dramas. First of all, Seol Jeongsik contributed to a direct version of Hamlet, escaping out of the former retranslation of the Japanese version through his thesis Dramatic poems and Shakespearian Prose. Kim Dongseok had charge of the studies on Shakespeare in the 1950's and promoted them to a higher position. Not enough was the introduction or sheer acceptance of Shakespeare, he elevated it to a regular study for deep learning. He Linked his study of Shakespeare to Choe Jaeseo's (崔 載端) climax of the study on Shakespeare in the 1960's. In his thesis Kim Dongseok divided, Shakespearian prose into three classes : the one was 'Falstaff's prose', another was 'King Lear's prose' and the third was 'Iago's prose'. In retrospect, it will be a problem to be studied in future that English literature, which had a tradition of prose for 350 years just like the naturalistic turn of 'Falstaff's Prose', the psychological turn of 'King Lear's Prose' and the scientific turn of 'Iago's prose', still retains a lingering love for poetry as well. Chapter Ⅵ deals with the Korean War related to Shakespeare. This Chapter brings up the problem of performance of Shakespeare's plays by the company 'Shinyop'(新協n) in pusan during the Korean War. The Korea National Theatre in Seoul was als o established when Korea formed a new government. As soon as the Korean theatrical world tried to be restored, North Korea invaded the Republic of Korea and destroyed the dramatic bonds of Korea in a brief space of time. At any rate, until an able company appeared t o act out and digest Shakespeare's plays well enough, it took at least 40 years, and i t was just the appearance of the company Shinhyop. This company severed its ties with the Korean National Theatre during the Korean War and linked the movement of Korean dramas to the performance of Shakespeare's plays and took the Four great tragedies of Shakepeare performed every one or two years but also they often prepared creative plays against communists during the war, partly showing Othello, Macbeth and Julius Caesar befor spectators in Pusan. Why did Shakespears's plays succeed in marking a boom in spite of war time in refuge of Pusan ? On the whole our messangers, Hyunchol and Kim Woojin sawed a barren field of studying Shakespeare with seed and then, efforts to reach the peak of this study by way of Kim Dongseok and You Chi jin were in full bloom and had good results with Ghoe Jaeseo. In 1964, on the occasion of 400th Shakespeare's birthday anniversary a splendid ceremony was given in England, of course, and all over the world, By the medium of lectures, seminars and varied exhibitions on Shakespeare, as well as through entertainments and amusing plays of the Eiizabethan age Shakespeare's festival was magnificant and shone forth in history We must, therefore, revaluate and admire his position as a creative poet. If there is a future kingdom for Korean poetry or for Korean drama, then Shakespeare must long be remembered as one of its first explorers in Korea

Shakespeare의 낭만희극에 나타난 구애 과정에 대한 연구 : 여성 인물들의 성장, 발전을 중심으로

김경희 강릉대학교 대학원 1999 국내석사

본 논문은 Shakespeare의 낭만희극 네 작품 ― The Taming of the Shrew, The Merchant of Venice, As You Like It, Twelfth Night ― 에서 보여지는 구애 과정에 대하여 살펴봄으로써, 낭만희극의 정수라 할 수 있는 결혼에 이르는 구애의 다양한 양상을 통해 성장, 발전되는 여성 인물들의 세계를 이해하는 것을 그 목적으로 한다. The Taming of the Shrew에서 Petruchio와 Kate의 관습을 탈피한 구애가극의 전체적인 흐름을 좌우하고 있으며, Lucentio와 Binaca의 정통적이고 낭만적인 구애는 Petruchio와 Kate의 사랑의 양상을 대조시키는 역할을 하면서, 극의 구조에 균형과 대조를 이루어 낸다. Petruchio가 Kate를 길들이는 과정은 그녀에게 남성중심의 세계에서 자신이 처해야 할 존재의 위치를 분명히 깨달아 정체성을 찾아가는 과정이다. The Merchant of Venice에서 ‘궤고르기 게임’에 의하여 자신의 결혼이 좌우되는 Portia가 아버지의 유언에 의해 제한된 선택 내에서 자신의 의지를 관철시킨 반면, 잔혹한 유태인 아버지의 딸 Jessica는 아버지로부터 도피함으로써 Portia보다 더 적극적인 방법으로 아버지의 권한내에서 벗어나는 과감함을 보여주고 있다. 그들의 선택은 갇혀진 가부장제적 사회 구조내에서 여성의 정체성을 찾아 원하는 상대를 얻고마는 적극성의 발현이라는 점에서 이 극의 구애 과정의 특징으로 주목할 만 하다. As You Like It에서는 다른 희극에서보다 결혼에 이르는 연인들이 가장 많다. Rosalind와 Orlando의 사랑를 중심으로 하여, Silvius와 Phebe의 목가적인 사랑, Touchstone과 Audrey의 육체적인 사랑이 다양하게 펼쳐지고 있다. Rosalind는 위장함으로써 양성적인 입장에서 사랑의 현실적인 면과 관념적인 면의 양면을 바라보는 원숙함을 지니며 극 전체의 사랑의 세계를 조율하는 역할을 한다. Twelfth Night에서는 구애의 과정을 통하여 갖게 되는 주인공들의 사회적 이동 및 남자들보다 뛰어난 여성 인물들의 활동을 중심하여 구애 과정이 사회적발전(social advancement)의 견지에서 이해된다. 결혼에 의한 신분의 이동으로 외형적인 변형을 이루어내는 과정이 다른 극에서보다 더 두드러지게 드러나고 있다. 가부장제 사회 속에서 여성은 남성들의 소유물인 양 다루어지지만, 여성 인물들은 남성들의 구애에 수동적으로만 대처하지 않는다. 남자에게 먼저 구애하는 Olivia, Orlando를 교육시키면서 사랑을 이루어 가는 Rosalind, 능력와 재력을 겸비하여 한 사회를 통제해 나가는 Portia, 사회적 인습에 반항하는 말괄량이에서 결국은 더욱 성숙한 여인으로 변모하는 Kate에 이르기까지 그들의 대부분은 극중에서 남자들을 능가하는 지적인 면을 지니고 있으며, 결혼이라는 행복한 결말에 도달하기까지 사랑의 세계를 주관해 나가고 있다. The purpose of this thesis is to study the character transformations of women in the wooing plots of Shakespeare's romantic comedies. In Shakespeare's comedies, marriage is regarded as the transformative process of the characters. Most of all, female characters find their identities or develop their lives actively until arriving at happy marriages through the wooing plots. The wooing plots show the activities of women characters. There are different types and features of wooing in Shakespeare's four romantic comedies ― The Taming of the Shrew, The Merchant of Venice, As You Like It, and Twelfth Night. In The Taming of the Shrew, the main plot is focused on the unconventional love of Petruchio and Kate. Kate is tamed by Petruchio's unconventional wooing and finds her identity within the patriarchal structure of the society through the wooing plot. Lucentio's wooing of Bianca is romantic and conventional, so it is contrasted with Kate and Petruchio's wooing. In The Merchant of Venice, female characters show active choices when they choose their husbands. Portia's marriage is restricted by 'casket game.' But she wins her love by accomplishing her goal within the restrictions of her father's will. Jessica wins her love by eloping against her father's wishes. In As You Like It, there are many married couples in the ending. Silvius and Phebe show pastoral and idealistic love, and Touchstone and Audrey represent realistic lovers in this play. The central part of this play is the disguise of Rosalind and her role play. In Arden, Rosalind displays her practical ability and deals with her love by disguising herself as a man. In Twelfth Night, Viola's disguise makes the wooing plot complex. This play dramatizes the process of social mobility through marriage. Through marriage, many characters want to enter into a higher class and status. Even though a married woman is her husband's possession in a patriarchy, the female characters in these plays don't act passively to the men's wooing. They deal with their love positively and actively, and most of them are transformed into women with strong identities who have abilities surpassing those of the men. Thus they take the initiative in their loves until arriving happy marriages.

해피엔딩에 대한 비극적 위협: <뜻대로 하세요>와 <십이야>

강경호 수원대학교 2004 국내박사

Throughout the 20th century, the works of Shakespeare have been recreated and adapted endlessly and variously, so these can be considered masterpieces more than any other plays. The study of Shakespeare’s comedy and of the Anti-Festive characters in his plays can allow understanding of the premise in Shakespeare’s literature. There are some difficulties in recreating Shakespeare’s Anti-Festive characters on today’s stage. This study examines alienated characters such as Jaques and Malvolio in Shakespearean comedies. Shakespeare’s comedies usually end happily, but some characters are alienated from the happy ending. Their characterization is complex, and their exclusion seriously mars the comic resolution. These characters make the tragic threat to happy ending. In As You Like It, people escape from Duke Frederick’s court. In the civilized liberty of the forest of the Arden, young lovers achieve their love and the clowns, Touchstone and Jaques, are allowed to mock and satirize everything including their values towards court and that of the forest. However the character of Jaques is complex, and his exclusion that threatens the comic resolution makes the middle comedies closer to "problem comedies" rather than to "early comedies". In Twelfth Night, Malvolio wants to marry Olivia because he wishes to be a nobleman. In the last scene, Malvolio refuses to reconcile with the others and leaves alone. Malvolio accuses the captain who has Viola’s clothes. If Malvolio doesn’t retract his accusation, it will mar the happy marriage. When Malvolio refuses to reconcile with the others and departs exclaiming, "I’ll have revenge on all of you", the union of the lovers in the main plot gets suspended. Literally, the feminine attire by which Viola can resume her identity falls into Malvolio’s hand. Symbolically, Malvolio personifies the "self-ignorance" of the lovers, so his blunt exit insinuates that the lovers have not yet reached "self-realization". In conclusion, it can be said that more careful attention should be paid to Shakespeare’s middle comedies As you Like It and Twelfth Night. As outlined, the exclusion of Anti-Festive characters seriously mars the comic resolution and makes the middle comedies closer to "problem comedies" rather than to "early comedies". Also the Anti-Festive characters create the tragic threat to happy ending.

해체론적 관점에서 본 『맥베스』 : 언어를 중심으로

김정이 한국외국어대학교 대학원 2005 국내석사

In Shakespeare’s Renaissance England, the medieval hierarchy started to break down and various new values emerged at the same time. As the Renaissance is one of the most revolutionary periods throughout the whole human history, the chaos in value system is reflected in the language of the period. In this respect, the language of the Renaissance shows some similarities to the Deconstructionism in literary criticism which proclaims the uncertainty of language, that is, 'the confusion' or 'the resistance against the order'. As a represen- tative writer of the age, Shakespeare depicted this kind of confusion of his days in his works. Most of all, Macbeth reflects prominently the deconstructive features in its theme, plot and language. By analyzing the deconstructive aspects in Macbeth, this thesis will reveal Shakespeare's deconstructive view of language. First, through the relation between weird sisters and Macbeth, Shakespeare shows us the representative impossibility uniting without any gap of the signifier and the signified in language, proving the instability of a system. The sisters symbolize the traits of language, that is, 'the ambiguity,' 'the imperfection,' and 'the chaos.' Macbeth's breakdown directly stands for the impossibility of the linguistic representation. Second, the center is absent in Macbeth. It means that the signifieds of characters and the plot are reversible. Most of the characters, even trustworthy and good characters are changeable and fallible in many aspects, and so is the plot. The signifier of the 'peace' in the last scene is not real, and confusion arises from the moment. Finally, the Derridean 'differance' haunts in Macbeth's thought throughout the play. In Macbeth, time is lingering and postponed through all the time. During this postponed time, Macbeth's 'differance' is brought about. Macbeth chose the signifer and the chosen signifier continued to postpone, and replaced itself with another. He was possessed with the prophecy till the end of his life, leading to self-deconstruction. Macbeth's mental process of following a hollow signifier of weird sisters stands for the Derridean 'differance.' To sum up, the dramatic world of Macbeth implies the deconstruc- tive features of language. Considering this, we can suppose that Shakespeare had the post-modern insight on language in the pre-modern Renaissance. His deconstructive view of language naturally leads the whole play of Macbeth to its deconstructive mood, uncertainty and indefinition. However, in the last scene, Shakespeare hopefully suggests us an alternative beyond the uncertainty of language.

셰익스피어의 '한여름 밤의 꿈' 무대디자인에 관한 연구

반서율 홍익대학교 대학원 2018 국내석사

셰익스피어의 연극은 시대와 장소를 초월한 작품성을 보여준다. 현재까지도 셰익스피어의 많은 연극들을 다양한 장르로 바꾸고 연출법을 달리하여 끊임없이 공연하고 있다. 이러한 이유로 그동안 많은 연구들이 진행되어 왔지만 무대의상, 시각효과, 연출법, 인물 분석, 심리학 등 한정된 분야로 연구가 진행되었다. 셰익스피어의 작품이 공연예술로 표현될 때 장르별 무대공간을 파악하고 그것에 접근하는 방식에 관하여 주목하여 살펴봄으로써 셰익스피어가 가지는 작품의도가 무대공간에 어떻게 반영되고, 무대디자인 요소들이 어떻게 표현되었는지를 구체적으로 파악하고 분석하여, 기존 연구의 한계를 넘고자 한다. 이에 본 연구는 셰익스피어의 작품 구조 중 중요장면인 ‘숲 속’장면을 장르별로 분석하여 작가가 의도하는 바를 명확하게 드러낼 수 있는 무대공간을 제시하는데 그 목적이 있다. 본 연구에서는 셰익스피어의 희극작품 <한여름 밤의 꿈> 장르별 무대 공간 특성에 관한 연구로, 연극, 오페라, 무용과 같이 3가지의 장르의 무대 공간 즉, 실제 공연에서 배우들의 공연이 이루어진 무대디자인을 장르별로 파악하고자 한다. 본 연구의 방법으로는 첫째, 작품과 연극무대에 대한 이론 연구로 문헌, 선행 자료를 바탕으로 한 이론적인 고찰을 통해 작품연구의 타당성을 도출한다. 둘째, 선행연구를 통해 추출한 ‘P’의 분석키워드와 무대디자인 분석 키워드를 사례 분석의 기준으로 삼아 장르별 무대 공간의 요소를 분석한다. 또한 조형원리로 무대공간에 나타나는 시각언어이미지요소를 분석한다. 사례 분석을 통한 종합 분석을 토대로 <한여름 밤의 꿈> 무대디자인에 대한 특성을 도출한다. 사례 분석 결과를 통해 ‘P’의 특성을 가장 적절하게 표현한 무대 디자인 공간의 요소는 장르별 특성에 따라 모두 강약이 다르게 나타났다. 하지만 ‘P’의 특성 중 비현실적 공간을 가장 잘 나타내는 공통적인 요소는 신체와 오브제, 다층적 공간은 미장센과 오브제, 재탄생의 공간은 미장센으로 나타났다. 이러한 결과를 통해서 가장 강하게 나타난 요소들을 좀 더 확실하게 표현해야 ‘P’를 작가의 의도대로 디자인 한다는 것을 알 수 있었다. 또한 조형원리는 균형과 리듬이 함께해야 더욱더 낭만희극에 알맞은 디자인이 나옴을 알 수 있었다. 본 연구를 통해 얻은 결론을 도출하자면 다음과 같다. 첫째, 각 장르마다 가지고 있는 장르별 특성에 맞게 <한여름 밤의 꿈>은 각 장르의 상황에 맞게 연출가나 작가의 재량으로 각기 다른 모습으로 공연 되어 왔지만 이러한 개인적 재량으로는 순수한 작품의도를 표현하는 것은 많이 부족하다고 파악되었다. 둘째, 수많은 시대를 거쳐 많은 공연들이 공연되었지만 공연예술이 가지고 있는 순간적이고 일회적이며 가변적인 특징 때문에 사진 자료만으로 분석해야 하는 한계점을 가지게 되었고 또한 정확한 장면의 사진을 찾아보기가 힘들었다. 셋째, 장르별 특성에 따라 공통적으로 오브제요소와 미장센 요소가 강하게 나타나야‘숲 속’공간을 가장 잘 표현한다는 것을 알 수 있었다. 본 연구는 낭만희극의 공간구조중 주요 공간인 ‘p’를 중점으로 무대공간을 표현하였다. 앞으로 셰익스피어의 다른 작품들을 공연으로 구현해야 할 때, 어떠한 방향성을 가지고 무대를 디자인해야 하는지 확인할 수 있는 것에 의의가 있다. Shakespeare’s play has the quality of transcending a time and place. Until now, Shakespeare’s plays have been performed endlessly with different interpretations in various genres. Although many researches have been conducted for above reasons, however, researches were only in limited fields such as stage costumes, visual effects, character analysis and psychology. This study aims to overcome the limitation of previous studies by specifically analyzing how Shakespeare’s intention and the elements of stage design were expressed on the stage in a way that focuses on a stage space and its approach when Shakespeare’s work is expressed as performing arts. As such, the purpose of this study is to suggest a stage space that precisely displays writer’s intention by analyzing the scene of in the woods’, a crucial scene in Shakespeare’s work. In this study the characteristics of a stage space in Shakespeare’s comedy A Midsummer Night’s Dream according to genres, this study examines stage designs where actors actually performed in four genres; play, opera, dance and movie. This research on a theater stage, finds the validity of a research through theoretical reviews based on literatures and preceding researches in a form of a study method. Second, this study analyzes the element of a stage space by genre on a basis of an analysis keyword of ‘P’, drawn by previous studies and analysis keyword of a stage design according to the case analysis. This study finds the characteristics of a stage design in literature based on comprehensive analysis of case studies. According to the analysis, elements of a stage design, which express the characteristic of ‘P’ appropriately, showed different strength and weakness in accordance with the characteristics of genre. Of the characteristics of ‘P’, an unrealistic space was represented in the body and the object, and a multi-layered space in object, and lastly a space of rebirth was expressed in miseenscene. Based on results, this study realizes that only when the strongest elements are expressed more definitely, ‘P’ is designed by writer’s intention. First, this study reveals that literature was performed variously according to genre at a director or writer’s discretion given the characteristics of each genre, however, expressing the pure intention of the work at the discretion of individuals seems significantly lacking. Second, although plays have been performed innumerably over time, it has the limitation of analyzing the plays based on photos given the fact that performing arts are monetary, disposable and variable and further, it is tricky to find an exact photo of the scene. Third, the space of ‘in the woods’ is most well expressed when the elements of object and miseenscene are commonly strong in line with the characteristics of genre.

셰익스피어 후기 로맨스극에 대한 정신분석학적 이해 : 부녀관계를 중심으로

박정재 韓國外國語大學校 大學院 2019 국내박사

This study examines the united empathy between fathers and daughters in Shakespeare’s late romances based on the psychoanalytic and psychological influences of Shakespearean studies. In terms of feministic and psychoanalytic approaches to literary studies, the daughters with maternity and femininity in Shakespeare’s late romances exert influences on their fathers, who in turn recover themselves and return home, symbolically and actually as well. The psychological analysis of the late romances based on not only daughters’ motherhood but also the other protagonists’ consciousness, leads to a new understanding of father-daughter relationship. In Pericles, to begin with, Pericles perceives unconsciously an Oedipus Complex betraying Antiochus’s inner inclination as his psychological drive. Shakespeare does nothing other than conjure up an Oedipus Complex not as a mother-complex between a mother and a son but as a form of father-daughter relationship. It is inferred that Pericles’s oppressed incestuous desire is revealed shortly after Marina is born. Pericles, however, seeks to confront the fear for the unconscious incest to his daughter through his painful agony of making a perilous voyage. Marina who played a role like an exorcist at a brothel in Mytilene expels Pericles’s fear using a language when united. Marina, Pericles’s restorer, makes his incestuous suffering sublimate and simultaneously him recovered from the painful self-castration In Cymbeline, likewise, Shakespeare emphasizes the daughter’s divine ability of restoring the demolished paternity in a patriarchal society. Cymbeline’s inner logos which used to be the reflection of fatherhood is lost and destroyed by his new wife due to his lack of insight and foolishness. The fact that Cymbeline lost his two sons two decades ago induces continually his inner, recurrent repressions. Also, Cymbeline’s objection to Imogen’s marriage leads to compel the separation between them. Nevertheless, Imogen grown up under such a submissive social system rejects Cymbeline who used to be her archetype of domination, which ironically enables her to have the elevated consciousness and reach the process of individuation. Eventually through the process of individuation, Imogen realizes her eros and logos, in other words, in terms of reconfirmation as both her inner sanctuary and self-recognition. Ultimately her sublimated consciousness makes Cymbeline’s lost sons return to the British kingdom and has Cymbeline attain the awareness of the true selfhood in manifold ways. In The Winter’s Tale, on the other hand, Shakespeare renders the protagonists’ agony the premise of reconciliation by achieving their highly developed consciousness. Leontes’s guilty conscience towards Hermione and Perdita disappears gradually after he experiences a consistent separation for many years in an anguished conscience. Namely, his psychological salvation is achieved not owing to the self-power on which his psyche depends, but owing to his deserted daughter with a great maternity in metaphorical terms. Perdita, who is a mother archetype expresses the affection for her parents such as indicated in the Demeter myth symbolically. Her mythological symbolism relates to the characteristic of converted consciousness, which a daughter like their mother searches for them and restores the broken bond of family. Perdita saves Leontes who was stuck in the polarity of love and hatred. Then in The Tempest, for the purpose of bringing about a reconciliation, Shakespeare suggests Miranda as figure of redemption for evil that Prospero committed on the island. Prospero who wants to avenge himself on his enemy is dominated by involving the dualism of good and evil. In fact, Prospero intends to project his ideal feminine disposition to Miranda. In psychological context, Miranda’s transformative power is a primary trait as an anima, which leads Prospero to have his recognizable inner self and concentrate on an elevated psychic life that is not subject to be repressed. His projection contains something of which his selfhood is able to maintain an unambiguous love for his daughter. Miranda functions as Prospero’s anima figure and represents definite vitality of his self. Though the daughters’ unconscious comprises the repressed traits originating in deserted or life-threatening situations, they overcome their despair and frustration, and present their boldness. As the Shakespearean pattern in the selected four romances is not about the fall of fathers but about their restoration, fathers are revived out of their symbolic death and attain the psychic equilibrium of their lives owing to their daughters’ love. 본 논문은 셰익스피어가 후기 로맨스극에서 기존의 가부장적 부녀관계와는 다른 유형의 부녀관계를 보여준 것을 고찰함을 목적으로 한다. 이 극들 속의 아버지들은 초반부 딸들을 유기하거나 강압적인 부성으로 그들을 억압하지만 딸들은 승화된 정신과 내적 성품, 사랑으로 아버지들을 용서하고 가족들의 화해와 재결합을 유도한다. 셰익스피어는 딸들을 주체적이고 아버지들의 아니마적 요소가 투사된 인물로 그려냄으로써 기존의 부녀관계와는 달리, 아버지들을 치유하고 집으로 귀환하게 만드는 전복된 부녀관계를 제시한다. 딸과의 의사소통을 가로 막는 아버지들의 오해, 논쟁, 편견은 그들의 무의식을 장악하여 부녀관계의 고통스런 갈등을 유발한다. 딸들은 아버지 세대의 여성에 대한 가부장적인 사고방식으로 인해 절망, 좌절하는 상황에서도 아버지에 대한 사랑을 저버리지 않고 구원하는 관용과 담대함을 보여준다. 그들의 그런 성향은 모성과 여성적 특질에서 파생되어, 부녀관계의 진정한 가치를 구현해낸다. 심리적이고 정신분석적인 관점에서 보면, 부녀관계의 조화를 모색하는 딸들의 이러한 창조적인 심리는 부녀 관계를 새롭게 수정된 형태로 재탄생시킨다. 따라서 후기로맨스극의 심리적인 분석은 단순히 딸의 여성성을 넘어 인간 의식의 심층을 탐구하여 부녀관계의 균열과 화해의 과정을 심오하게 고찰하게 한다. 셰익스피어가 그린 이런 딸의 이미지는 당대 여성관과 대단히 상충되고, 대단히 진보적으로 보인다. 셰익스피어가 말기에 집중적으로 이런 작품들을 집필한 것도 주목할 만하다. 그래서 본 논문은 당대의 보편적 젠더 편견을 넘어서 진정한 젠더 특징에 대한 분석을 하고 있는 셰익스피어의 통찰력에 주목하여 심리적이며 정신분석 측면에서 후기 로맨스극을 새롭게 제시하였다.

여성, 가정, 국가와 셰익스피어의 비극

백선미 高麗大學校 2007 국내박사

The purpose of this dissertation is to examine Shakespeare's tragedies written in the late sixteenth and the early seventeenth century―Romeo and Juliet, Othello, Antony and Cleopatra―in comparison with the political discourses in the English Renaissance. One of the most important characteristics of the political discourses is to make the familiar and culturally pervasive parallels between domestic and political power structures. That is, the family is idealized as an ordered patriarchal unit on which an ordered polity can be built, and the male-dominance system based on wifely subjection is encouraged. The purposes of such parallels and emphases are to eventually consolidate the monarchical absolutism and the hierarchy of the state. Some New Historicists have often concluded that this posited relationship between family and state was as symmetrical and mutually reinforcing as patriarchal writers might wish. However, my point is that contrary to what these patriarchal writers might desire, these tragedies depict the discursive parallels between the domestic and political power structures as challenged and conflicted. Thus the family/state homology collapses and each political patriarch virtually fails to solidify societal hierarchies. And above all, this disparity becomes more obvious according to the sequence of the tragedies. Besides, the tragedies reflect the Protestants' attempt to grant new significance to women and their private lives by encouraging marriage. As the male protagonists are absorbed in public concerns and ideals of manhood, they at first vacillate in emotional commitment to women, as do Romeo and Antony, or lose faith altogether, as does Othello. But as the plays go on, each tragic hero regards his female protagonist not as a subjected peripheral but as being essential to himself. Therefore, the family/state homology and the roles of females described in these tragedies are different from those insisted upon in patriarchal writings. Thus this dissertation proves that this disparity is interrelated with the contemporary social context in England, in which from the late sixteenth century the social struggle began to be exposed and so the monarchical absolutism virtually started to be challenged. The public theater, in a limited sense, was also opposed to the logic of absolutism. This social context gave Shakespeare the scope with which he could reshape it, in his subversive imagination, into dramas, letting him bring a shift of genre from the romantic comedy to the tragedy. In sum, it can be said that these tragedies explore the changing relationships between sovereignty and subjectivity and between males and females.

셰익스피어의『태풍』(The Tempest)과 최인훈의『태풍』비교 : 탈식민주의 시각을 중심으로

박소영 韓國外國語大學校 大學院 2008 국내석사

셰익스피어 희극의 양성적 여성 인물 연구 : 『베니스의 상인』의 포샤와 『뜻대로 하세요』의 로잘린드를 중심으로

윤지현 경성대학교 교육대학원 2011 국내석사

William Shakespeare expresses the heroines in his comedies as subjects with intelligence and free will. They are not subordinates of men. The heroines reveal androgynous aspect in which masculinity and femininity are integrated through their disguise and they dispell patriarchal ideology against women. Elizabethan age, the Renaissance period in England, was the time when traditional patriarchy and new values coexisted. Although the effect of patriarchy on society was still significant, people's eagerness to be free and liberal had strong impact on the freedom and liberation of women. There were some factors which had strong influence on the change of the social position of women. First, successful female leadership of Queen Elizabeth Ⅰ made England the strongest nation in the world. Second, Humanism in 16th century began to focus on female education. Third, Puritanism had effect on the attitude toward marriage. Under these social backgrounds, Shakespeare created subjective female characters, especially in his comedies, who challenged patriarchy through their dual sexual aspect. Portia in The Merchant of Venice and Rosalind in As You Like It can be good examples of such female characters. Portia has fluent speech skill as well as professional legal knowledge. She ventures to enter the legal world that is only for males at that time. She disguises herself in a man's clothes to resolve the crisis of Antonio and achieve her goals. And, in man-centered court she exhibits her extraordinary role-playing as a man and shows much better performance than a man. Also, she strengthens her position in a relationship between would-be husband and wife by reforming Bassanio. Portia challenges patriarchy and shows the absurdity of the stereotype of women. She also fully integrates masculinity into herself and perfectly plays the role as a troubleshooter who solves her own problems as well as those of men. Rosalind is forced to move to the forest of Arden by her uncle's threat and disguises herself as a man named Ganymede. By playing various sex roles, Rosalind comes to find irrationality of generally accepted sex stereotype. She grows to be an ideal person with a complete identity by recognizing and performing features of both man and woman. She actively governs the people of the forest with her own will. She meets Orlando, a man she loves, and also tests his love for her. Rosalind makes Orlando change and finally marries him in the end. She also lets other couples marry together. Rosalind can be a prototype of complete humanity because her own femininity and masculinity she acquires through disguise are well integrated in harmony. In conclusion, Portia and Rosalind are androgynous female characters in Shakespeare's comedies. They prove the fact that women can have the ability of both femininity and masculinity as a human being regardless of their biological sex.

『아테네의 타이먼』에 나타난 배금주의 비판

이미연 韓國外國語大學校 大學院 2010 국내석사

Criticism of Mammonism in Timon of Athens Lee, Mi Yeon Department of English Literature Graduate School Hankuk University of Foreign Studies William Shakespeare’s tragedy Timon of Athens deals with a somewhat capitalistic theme. The Athenian society in Timon of Athens is far from the feudalistic one based on God’s providence. In addition, it is a place where people abandon friendship and honor for money and give priority to money over love in choosing the spouse. Also, individual humans’ value and belief are swayed by the flow of wealth. A glimpse of Mammonism can be revealed in such society that defiled traditional values for personal monetary benefits. In Timon of Athens, Shakespeare sets the collapse of traditional values and the corruption of people caused by Mammonism as the objects of criticism and finds in his English society the spread of Mammonism, which places wealth on a position higher than any other values. The background of this play is Athens, but its contents suggest the image of English society under King James I, the quickening period of capitalism that can promote a person’s class using money. R. H. Tawney pointed out that economic realities were clearly separated from religious theories in English society during the late 16th century. From this, it is inferred that for English people in the 16th‐17th centuries, the critical determinant for assessing the value of things and setting behavioral directions was not God’s providence or traditional morality but individuals’ pursuit of practical benefits. Through Timon of Athens, Shakespeare forecasts the magical nature of gold that reverses all values and mediates the connection of all incompatible things. And he criticizes the negative aspects of social materialism revealed when the standard of value is taken by currency, which converts all traditional values into exchange values. In order to argue on this criticism, Shakespeare sets the hero Timon as a misanthrope and exposes the corruption of the Athenian society enslaved to wealth. In the Athenian society, the behaviors of those subordinate to wealth have neither any doctrine nor any rational justness. Athenians enslaved to richness show human weakness by persisting in material desire. The social system also changes fluidly according to the move of wealth. After all, through Timon of Athens, Shakespeare criticizes the power of money, the loss of humanity, and evil practices of fluid social structure hidden behind the abundance of British society in the 16th‐17th centuries. Also, at the same time, he points out inhumane factors that may emerge when wealth is taken as a criterion of value in contemporary society arrested by Mammonism.