http://chineseinput.net/에서 pinyin(병음)방식으로 중국어를 변환할 수 있습니다.
변환된 중국어를 복사하여 사용하시면 됩니다.
심정순(Jung Soon Shim) 한국아메리카학회 2014 美國學論集 Vol.46 No.1
This paper revisits and reinterprets Young Jean Lee's Songs of Dragons Flying to Heaven as a postdramatic and postfeminist performance. For Lee, a 1.5 generation Korean-American playwright/ director/performer, the question of identity seems to be one of her top priority questions to tackle with to consequence a certain kind of negotiation between her Korean and American identities. In this performance she audaciously dashes at the question of race and gender identities ironically from post-identity and postfeminist perspectives. She intentionally maintains ambiguous positions in this endeavor. Namely, she engages herself in the claiming of the question, while at the same time she objectifies it keeping distance from and providing commentary on it. Rendered in short, fast-moving, episodic scenes, Lee makes most of 'irony' as her main dramaturgical strategy to present her political messages about racism, violence, feminism, patriarchy as well as christianity and republicans. She also plies self-depreciation strategy, in-yer-face style, quick reversal, etc. through which she successfully creates ironic, comedic affects for audience appeals. Notable is her sincere efforts to highlight the universality of practices of racism and patriarchy as non-specific to white people. In an open ending, Lee seems to ironically project a dream version of American Dream against all the identity positions context that she has constructed.
세 위안부 연극에 나타난 주체성, 윤리성, 글로벌 관객의 문제 -<노을에 와서 노을에 가다> <나비> <특급호텔>을 중심으로-
심정순 ( Jung Soon Shim ) 한국연극학회 2010 한국연극학 Vol.0 No.41
This article comparatively examines three Korean comfort women plays, Coming and Going at Sundown, Comfort Women(Korean title, Butterfly), and Hotel Splendid by three women playwrights, respectively written by Hur Gil-Cha(Korean), Kim, Jung Mi(Korean-American) and Lavonne Muller (American). It specifically focuses on how the dramatic form and dramatic narrative intersect the questions of subjectivity, ethics and global audiences. It characterizes the formalistic mode of the first play as post-colonial, the second as representational and the third as universalist. Whereas the play Coming and Going at Sundown uses the Korean shamanistic ritual Gut`s performing strategy, seeking to use strong emotions and in-the-face mode of description of comfort women`s bodies in torture as an effective communication method, the play Butterfly(Korean translation title) adopts certain narrative distance in constructing a modified realism drama in exploring the victim`s subconsciousness. The Play Hotel Splendid bases its dramatic structure on the contemporary western women`s theatre model, and situates the comfort women issue in the global context, raising it to a universal question of human rights, and war and women. The article ultimately aims to illuminates the potential significances of cultural politics of each text and performance in the domestic as well as in global context.