뮤지컬, 영화화된 셰익스피어 극과 원작과의 비교연구

김미예(Miye Kim) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.4

Romeo and Juliet by Shakespeare has been made into a musical piece, West Side Story and two pieces of movies, Romeo and Juliet directed by Franco Zeffirelli(1968) and Shakespeare”s Romeo+Juliet by Baz Luhrmann, all of which have gained great popular success. Analyzing how each of the popular works deals with the last scene of death and reconciliation and comparing them with that of its original work by William Shakespeare, I was to find the answer to what Shakespeare tries to tell through the senses and sensibilities of the 14 or 15-year-old boy and girl. Romeo+Juliet by Baz Luhrmann, tries to show that time error or fortune is the decisive factor to cause young lovers’ death. The intensity of the moment of death makes us forget the importance of the entrance of Friar Laurence in Shakespeare’s Romeo and Juliet. Friar Laurence enters between the death of Romeo and that of Juliet in Shakespeare’s play, which makes us somewhat yawn. Nevertheless, Franco Zeffirelli intentionally cross-cuts by inserting the Friar Laurence scene between the two deaths. Friar Laurence presses her to leave the tomb, when Juliet sees Romeo’s death and firmly refuses to go out and remains with dead Romeo. Shakespeare shifted the focus from death to choice behavior by inserting the scene of the entrance of Friar Laurence and by showing a strong-willed 14-year-old girl. Zeffirelli read delicately Shakespeare’s intention and never missed its core that gave their love “mythic intensity”(Fisher 21). In West Side Story, Maria lives after the death of Tony and makes the ancient grudge of two immigrant gangster groups in 50’s be resolved. By putting stress on resolving the national and racial problem of America, this musical piece has lost the original intensity and meaning of Shakespeare’s Romeo and Juliet which shifts the focus from death to the choice behavior.

「로미오와 줄리엣」을 ‘순진하게’ 읽는 세 가지 관점

백정국 한국중세근세영문학회 2011 고전·르네상스 영문학 Vol.20 No.2

This essay responds to three hypothetically innocent questions that uninformed readers might have on Shakespeare’s Romeo and Juliet, a tragedy of which persistent popularity is said to be found in its aesthetic elevation of untainted, unworldly love of two innocent hearts. Those questions are primarily concerned with (1) the authenticity of the family feud as an undoubted background on which the entire tragedy of Romeo and Juliet is supposed to stand, (2) the thematic relevance of the exceptionally frequent use of the religious word “holy” to the story proper, and (3) the problem of Romeo’s obsessive fascination with visual beauty of women. Answers to these questions, I argue, facilitate the enlightened reading of the drama. The importance the conventional criticisms attach to the “ancient grudge” between the Montagues and the Capulets is more highlighted than it deserves, for the diverse textual evidence hints at the probability that the old bloody edge of the mutual antagonism has been quite blunted by the passage of time. However, this subdued antagonism does not necessarily diminish the play’s tragic vision; in fact, it heightens the tragedy of Romeo and Juliet, as it provides an ironic dimension to their untimely death. The habitual use of the word “holy” serves as a conceptual lens through which one can see the systematic evil embodied in the destructive hostility between the two powerful households and the political and religious helplessness of the dignified personages in Veronian society. This perspective enables an interpretation that the tragedy of this drama hinges not so much on individual hamartia as on collective corruption of society. Even though Romeo’s vulnerability to the visual attraction may be quite regrettable, there is a sense in which it largely partakes of the early modern preoccupation with the deceptive power of appearances. However, in Romeo and Juliet the deceptive power of appearances should be felt on the collective and communal rather than on individual level, an important dramatic aspect that makes Romeo and Juliet particularly hopeless lovers.

<윌리엄 셰익스피어의 로미오+줄리엣>의 미디어와 소비문화

이혜경 한국중세근세영문학회 2014 고전·르네상스 영문학 Vol.23 No.2

Baz Luhrmann’s radical film William Shakespeare’s Romeo+Juliet (1996) offers a stunning contemporary vision of Shakespearean play text. Luhrmann uses a variety of media forms and images from consumer culture to create very popular filmic productions, addressed to an up-to-date modern mass audience. William Shakespeare’s Romeo+Juliet seems like a good example of post-modern pastiche, which puts together a plethora of allusions, copies, and intertextuality (the western movie, the gangster movie, the kung-fu pic, the urban thriller, crime-thriller, the action comedy, MTV, etc). He borrows the characteristics of many genres and styles and re-works these elements through his signature “Bazmark” style to make postmodern pastiche, in which the distinction between high and low art is collapsed and everything has equal value. In Luhrmann’s film, Shakespeare’s language becomes the source of advertising copy and a brand name. And the film, where sacred and profane exist in a dynamic balance, is so saturated with religious symbolism, that is intimately mingled with consumer culture. The mockery of a religion plays a clashing role in Luhrmann’s mise-en-scène, for the giant statues of Christ, Mary, and various saints compose a powerless group of silent onlookers to the violence in Verona, and for the film portrays religion as a media icon or a brand name or a just another commodity in post-modern consumer culture. To mix popular culture with elements of high culture, Luhrmann opens his film with a television news report that functions as the classical chorus, followed by the hasty progression of newspaper headlines concerning the “new mutiny” and “ancient grudge” between Capulets and Montagues. But Jean Baudrillard claimed that everything today is composed of simulacra of previously existing things. According to Baudrillard’s theory, the news on television is the hyperreal, though it seems to refer to something real; the news is a simulation designed to hold the attention of the viewer. In the circular frame where everything begins and ends with television news, the whole tragedy of Romeo and Juliet is presented as an event within the TV news. Luhrmann’s film can be read as a canonical example of iconoclasm, for it challenges to the Shakespearean canon and timeless, eternal values he represents. Though Luhrmann may try to make Shakespeare relevant to today’s society from a new contemporary innovative viewpoint, the practice of this film consequently seems to cast a doubt on Shakespearean icon of literary value and to destabilize the previously unshakeable stability of his authority. Luhrmann’s flamboyant cinematographic style, “Bazmark,” has positioned him as an innovative, creative auteur competing with High Culture Shakespeare within the domain of contemporary cultural milieu. Baz Luhrmann’s radical film William Shakespeare’s Romeo+Juliet (1996) offers a stunning contemporary vision of Shakespearean play text. Luhrmann uses a variety of media forms and images from consumer culture to create very popular filmic productions, addressed t o an up-to-date modern mass audience.William Shakespeare’s Romeo+Juliet seems like a good example of post-modern pastiche, which puts together a plethora of allusions, copies, and intertextuality (the western movie, the gangster movie, the kung-fu pic, the urban thriller, crime-thriller, the action comedy, MTV, etc). He borrows the characteristics of many genres and styles and re-works these elements through his signature “Bazmark” style to make postmodern pastiche, in which the distinction between high and low art is collapsed and everything has equal value. In Luhrmann’s film, Shakespeare’s language becomes the source of advertising copy and a brand name. And the film, where sacred and profane exist in a dynamic balance, is so saturated with religious symbolism, that is intimately mingled with consumer culture. The mockery of a religion plays a clashing role in Luhrmann’s mise-en-scène, for the giant statues of Christ, Mary, and various saints compose a powerless group of silent onlookers to the violence in Verona, and for the film portrays religion as a media icon or a brand name or a just another commodity in post-modern consumer culture. To mix popular culture with elements of high culture, Luhrmann opens his film with a television news report that functions as the classical chorus, followed by the hasty progression of newspaper headlines concerning the “new mutiny” and “ancient grudge” between Capulets and Montagues. But Jean Baudrillard claimed that everything today is composed of simulacra of previously existing things. According to Baudrillard’s theory, the news on television is the hyperreal, though it seems to refer to something real; the news is a simulation designed to hold the attention of the viewer. In the circular frame where everything begins and ends with television news, the whole tragedy of Romeo and Juliet is presented as an event within the TV news. Luhrmann’s film can be read as a canonical example of iconoclasm, for it challenges to the Shakespearean canon and timeless, eternal values he represents. Though Luhrmann may try to make Shakespeare relevant to today’s society from a new contemporary innovative viewpoint, the practice of this film consequently seems to cast a doubt on Shakespearean icon of literary value and to destabilize the previously unshakeable stability of his authority. Luhrmann’s flamboyant cinematographic style, “Bazmark,” has positioned him as an innovative, creative auteur competing with High Culture Shakespeare within the domain of contemporary cultural milieu.

전염의 시대: 『로미오와 줄리엣』에 내재하는 전염병 문화

황수경 한국셰익스피어학회 2021 셰익스피어 비평 Vol.57 No.1

This essay examines Romeo and Juliet as an early modern theatrical product fully loaded with the cultures constructed through the experiences of plague. The sporadic but continual outbreaks of contagious diseases over the sixteenth to mid-seventeenth century engendered frequent appearance of rhetorical expressions or metaphors of contagion, but not direct or realistic depictions of the actual plaguy bodies on the early modern English stage. Although latent or implicit, early modern plays connote the contemporary understanding of contagion, suggest institutional policies to handle the plagues, and project the public psychology of fear and anxiety confronting the seemingly incurable and transmittable diseases. Romeo and Juliet, thus, embodies social mechanism and traumatic responses of the contemporaries, shaped through the repeated overwhelming experiences of disastrous plagues. Whereas the humorous characters including Romeo demonstrate the bodies susceptible to plague, their physical contacts, either boosted by hatred or love, soon conjure suspicions and anxieties for rampant plaguy disease, instantly spreadable through versatile social networks in the city of Verona. In addition, Romeo’s hasty exile and the Friars’ abrupt confinement mirror the strategies and frustrations of the political management by public health authorities in times of plague. The Prince’s concluding statement invoking God invites traditional wrap-up manifesting divine order, but the dreary ending of the play still resonates with doubts and uneasiness chronically weaved through the cultures of plague.

Shakespeare’s Literary and Theatrical Devices for Transcendent Love in Romeo and Juliet

Beau La Rhee(이보라) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.4

In Romeo and Juliet, Shakespeare’s use of literary devices such as paradox, irony, and contrast as well as stage techniques are designed to enhance characterization of the lovers and intensify the tragedy itself. This is also the reason that Shakespeare expanded the characterization of the Nurse and Mercutio; they are to act as contrasts to Romeo and Juliet not only to further the plot but also to enhance their love. The contrast between Romeo’s infatuation with Rosaline and his love for Juliet can be detected in his rhetoric as well. Furthermore, the dramatist interposes between the description of Romeo’s seemingly false dream and the contrasting tragic events, the true dream of his servant Balthasar. The characters are not conscious necessarily of the symbolic import of their speech; this makes the dramatic irony all the more intense. The cluster of meanings.cultural and symbolic.reaches deeply into the play. The literary as well as stage techniques are designed to insinuate that the lovers will consummate their love in the other world though they may seem to have succumbed to their fate in this world.

A Possible Promise of Intercultural Shakespeare through Traditional Gut Performance: Tae-rin Kim’s Romeo-The Ssitgim (2015)

서동하 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.1

This presentation inquires into the implications of the so-called intercultural Shakespeare, examining Tae-rin Kim’s Romeo-The Ssitgim. This production creates the imaginative world of afterlife, conjuring up the ghosts of main characters in Romeo and Juliet to retell their sad story. It successfully takes elements from Korean traditional performance arts such as dance and pansori (song) in order to adapt Shakespeare’s original play. Kim’s version shares similar characteristics with other staged performance of Shakespeare’s play and Koreanized Shakespeare adaptations. Kim’s production with a successful fusion of Shakespeare’s play and artistic and dramatic quality of Stigim-gut (traditional ceremonial performance to solve the conflict between a dead person and his/her family) shows that there is an obvious gap between balancing the use of Korean elements for global audience with the popularization of Shakespeare for local audience. However, what is significant in his experiment is that there is also possibility of making Koreanized Shakespeare to solve social and psychological conflicts of local audience, not merely popularize Shakespeare using his global currency. Kim’s production re-lightens the potential of gut performance as a cultural content without loss of its social functions and Shakespeare’s complex psychology reflected in this play.

A Possible Promise of Intercultural Shakespeare through Traditional Gut Performance

Dong-ha Seo(서동하) 한국셰익스피어학회 2018 셰익스피어 비평 Vol.54 No.1

This presentation inquires into the implications of the so-called intercultural Shakespeare, examining Tae-rin Kim’s Romeo-The Ssitgim. This production creates the imaginative world of afterlife, conjuring up the ghosts of main characters in Romeo and Juliet to retell their sad story. It successfully takes elements from Korean traditional performance arts such as dance and pansori (song) in order to adapt Shakespeare’s original play. Kim’s version shares similar characteristics with other staged performance of Shakespeare’s play and Koreanized Shakespeare adaptations. Kim’s production with a successful fusion of Shakespeare’s play and artistic and dramatic quality of Stigim-gut (traditional ceremonial performance to solve the conflict between a dead person and his/her family) shows that there is an obvious gap between balancing the use of Korean elements for global audience with the popularization of Shakespeare for local audience. However, what is significant in his experiment is that there is also possibility of making Koreanized Shakespeare to solve social and psychological conflicts of local audience, not merely popularize Shakespeare using his global currency. Kim’s production re-lightens the potential of gut performance as a cultural content without loss of its social functions and Shakespeare’s complex psychology reflected in this play.

제피렐리와 루어만의 『로미오와 줄리엣』 영화 비교

신웅재(Woong-Jae Shin) 한국셰익스피어학회 2003 셰익스피어 비평 Vol.39 No.2

This study compares Franco Zeffirelli's Romeo and Juliet and Baz Luhrmann's William Shakespeare's Romeo+Juliet to examine how each movie deals with the play's main themes of love, generation gap, social environment. and fate. Zeffirelli's movie convincingly and movingly portrays the joy and beauty of the teenagers' passionate love, which is described here as charmingly fresh and pure, with touching details and rich eroticism. This movie also emphasizes the romantic purity and moral superiority of the young generation over the worldly-minded older generation. Furthermore, this movie reveals an optimistic view that the young protagonists' love and their sacrificial deaths will bring peace and order to Verona. And the circle images that often appear in the movie suggest that youthful love, despite its transitoriness, will be reborn generation after generation. On the other hand, Luhrmann's movie focuses on the corrupt social environment as well as the tyranny of Fate, both of which constantly threaten to destroy the protagonists' love. This movie portrays an extremely pessimistic view that romantic love is merely an old-fashioned ideal and therefore no longer possible in the depraved contemporary world. The older generation in this movie is much more perverted and intimidating than in Zeffirelli's movie; indeed, they represent the chaotic modem society in which all kinds of iniquities and crimes are prevalent. Not only the older generation but also blind (or malignant) Fate ruthlessly frustrates the protagonists' love and finally destroys them. In their attempts to escape from such threats and dangers, the two lovers often find their temporary refuges in various types of water-an aquarium, a swimming pool, a sea of candles and blue neon signs, etc. But this water motif also indicates the movie's pessimism, for the watery world only provides a temporary relief and ultimately leads the protagonists to death. Thus Zeffirelli's movie, which focuses on praising youthful love, is closer to a romantic tragedy, whereas Luhrmann's movie, which stresses the ills of the corrupt society and the cruelty of Fate, tends to be a social problem drama or a tragedy of fate. To compare both merits and demerits of the two movies, Zeffirelli's movie vividly and movingly reconstructs Shakespeare's timeless love story, but it fails to raise any deeper issues of contemporary society or of human destiny. On the other hand, Luhrmann's movie provides a sharp insight on the problems of the modern world or the tragic destiny of mankind, yet this insight causes the glory of love, the major theme of Shakespeare's Romeo and Juliet, to be thrust aside. Zeffirelli's movie is faithful to Shakespeare's play, whereas Luhrmann's movie departs from both the setting and the message of the text in order to experiment with it for the director's own purpose. Both approaches are considered equally worthwhile because each attempt can increase the value of the Shakespearean text by enhancing its universality and modem relevance.

셰익스피어 대중문화와 한국의 실제: 2000년대 연극산업을 중심으로

임이연 한국고전중세르네상스영문학회 2012 중세근세영문학 Vol.22 No.1

This essay explores the signification of “popular” Shakespeare in contemporary Korea. After defining the meaning(s) of popular culture, the essay surveys Shakespeare’s cultural history in Britain and America. Shakespeare’s transformation from folk culture to high culture and popular culture suggests that highbrow/ lowbrow culture is not a rigid category. Paradoxically, Shakespeare as popular culture relies on the Bard’s cultural capital accumulated through his non-popularization and canonization as highbrow culture. Unlike his popularity in the West, Shakespeare’s presence is meager in Korean popular culture. Most Shakespearean theatre productions remain highbrow, even when they attempt to popularize the Bard. Three popular entertainments produced in the 2000s are examined in turn: Comic Show Romeo&Juliet (2008), Club Twelfth Night (2010), and Musical Hamlet (2007). These productions suggest that Shakespeare exists only in name(and thus virtually absent) or is elevated to the middlebrow taste. Genuine popularity presupposes appreciation. Popular Shakespeare in a positive sense, of being widely liked or originating from the people, seems inconceivable in current Korean culture, where Shakespeare is known only superficially as chunk of world classics.

희곡과 영화의 「로미오와 줄리엣」비교 연구

이효원(Hyowon Lee) 한국전자출판학회 2019 전자출판연구 Vol.- No.12

로미오와 줄리엣의 사랑 이야기를 알고 있다면 대부분 영화를 통해 접했을 것이다. 가장 흥행한 영화는 1968년 프란코 제피렐리(Franco Zeffirelli)감독의 <로미오와 줄리엣>과 1996년 바즈 루어만(Baz Luhrmann)감독의 <윌리엄 셰익스피어의 로미오+줄리엣>이다. 전자는 원작의 재현에 초점을 맞추었다면 후자는 각색에 초점을 맞추어 서로 다른 주제를 드러내었다. 그밖에도 뮤지컬, 발레, 오페라 등, 셰익스피어가 연극 상연을 위해 쓴 희곡「로미오와 줄리엣」은 오늘날까지 다양한 장르로 OSMU되어 재생산되고 있다. 그 이유는 원작이 가진 예술성과 대중성 때문이다. 시공을 초월하는 사랑이라는 소재임에도 불구하고 무운시로 이루어진 대사와 르네쌍스의 영국문화가 녹아있는 희곡을 이해하기란 쉽지 않다. 바즈 루어만의 <로미오와 줄리엣>은 원작의 예술성을 잘 이해하고 대중적 코드에 맞춰 각색한 작품이라는 점에서 대중에게 기여한 바가 크다. 텍스트로 읽기 난해한 작품을 영화화 하여 대중에게 친숙하게 다가가는 작업은 중요하다. 관객들에게 원작에 대한 관심의 기회를 제공하기 때문이다. 본 논고에서는 바즈 루어만의 <로미오와 줄리엣>이 원작을 어떻게 각색했는지 다각도로 분석해봄으로써 셰익스피어와 그의 희곡 「로미오와 줄리엣」에 대한 이해를 넓히는 기회를 마련해보고자 한다. If you know the love story of Romeo and Juliet, probably you got through the movie. The most popular films are <Romeo and Juliet>, directed by Franco Zeffirelli in 1968, and <Romeo + Juliet>, directed by Baz Luhrmann in 1996. If the former focused on the reproduction of the original, the latter focused on the dramatization and revealed different themes. In addition, musicals, ballets, operas, and plays written by Shakespeare for theatre 「Romeo and Juliet」, have been reproduced in various genres as OSMU to this day. The reason is because of the artistry and popularity of the original plays. Despite the fact that love is transcending time and space, it is not easy to understand the drama of blank verse and the drama of Renaissance s British culture. <Romeo + Juliet> contributed greatly to the public in that he understood the artistry of the original work and adapted it to popular codes. It is important to make movies that are hard to read in texts and familiarize them with the public. It gives audience an opportunity to be interested in the original text. In this article, we try to find an opportunity to broaden the understanding of Shakespeare and his plays Romeo and Juliet by analyzing various ways in which <Romeo + Juliet> adapted the original play.