마당극 연구

김방옥(Bang Ock Kim) 한국연극학회 1995 한국연극학 Vol.7 No.1

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남성성의 해체 양상 -2000년대를 전후한 남성 극작가들의 작품을 중심으로-

김방옥 ( Bang Ock Kim ) 한국연극학회 2010 한국연극학 Vol.0 No.42

This Thesis attempts to examine the phenomenon of deconstruction of masculinity as appears on the works of four Korean male playwrights around 2000: Yoon Dae-sung, Jang Jung-il, Park Keun-hyung, Yoon Young-sun. As Studies of Feminism reaches certain points, discourses of Masculinity began to draw attention: Is male sex a still domineering gender in a society and a family? Patriarchy still works now? In korea, as is the case with other traditional cultures, patriarchy sustained the orders of families and society. However, I.M.F. of 1998 threatened the patriarchal status of men and the paradigm-shifted post modern society began to require emotional and subtle abilities of women rather than traditional male physical power. Korean nobles and movies of these days often utilize these themes, but mostly with the viewpoint of female-subject . Considering this, It is noticeable that some Korean male playwrights began to reflect on the natures and present situations of masculinity, manliness, or patriarchy from the perspectives of male subject-author. Yoon Dae-sung portrays ego-centric, pessimistic and week-minded husbands who no longer believe in women, marital partners, marriage, and life itself. They wish peaceful lives devoid of nagging wives, duties for selfish children. They detest boredom and voidness of marriage lives and even dream of committing suicide, a forever rest from meaningless matrimonial lives. Jang Jung-il, also a controversial novelist and poet as well as playwright, recently published Sun and Moon, a historial fiction based on the Chinese Historical Record by Samachun. In this play, a prince Buso, who was outcasted by his own father King Jinsi, a notorious and powerful dictator of 2nd b.c. China, flied to the fringe district governed by general Mongyam. Disillusioned and abhorred by endless power struggling between male creatures, the prince leads a peaceful and elegant life writing poetry and creating things. Finally, with the help of the medicine he made, the prince decided to change himself to turn to be a woman. He dances to Beethoven`s Moonlight Sonata saying "I`d like to be a woman, damped by moonlight..." Park keun-hyung, in a series of his plays, mocks and overturns the hierarchies of patriarchy and pure-blood of family histories. In Genealogy of Family he explores how three or four generations of a family, proud of family history, actually consisted of disgraced and shamed marriage and childbirth. The seemingly dignified ancestors were wife-bitters, abused and forsook a vietnamese wife during the vietnam war, an aphrodisiac drug users, and even offered hs own wife to Japanese business partner. Father of Kyung-sook portrays a selfish, braggart, and flirting father from the eyes of a daughter Kyong-sook. During and after the Korean war, the father left family, transfer his wife to his friend, fell in love with a suspicious woman, etc. However, The forsaken Wife and daughter show love-and hate attitude toward the father. Yoon Young sun`s Trip describes long time no see middle aged elementary school friends who gathered to make a trip to the funeral ceremony of a friend just dead. They laugh, boast, and say obscene jokes on the way to the funeral place but they do not have any interests or informations of the deceased friend. One of the friends, Yang-hoon, a taxi-driver, reveals emotional unstability and suddenly bursts into a mysterious nervous break-down. These Plays mentioned above successfully imply insecurities and deconstruction of traditional patriarchy, manliness, masculinity, and male identity in Korean society and family from the viewpoint of male author and male subject.

몸의 연극과 관객의 몸을 위한 시론 : 기(氣)와 "흥(興)"에 관련하여

김방옥 ( Bang Ock Kim ) 한국드라마학회 2006 드라마연구 Vol.- No.25

Recently various kinds of discourses about body are flourishing. We have known ``theatre of body``, body-centered theatre for a long time. Artaud advocated earlier that "cruelty is not representation of life but it is life itself" and he tried to foreground cruelty to emphasize theatrical physicality. To Grotowski or Eugenio Barba, performers` bodies are theatre itself too. Body is more important for the performances like pantomime or body arts. Meanwhile, since around 1990s, theatre materials like soil, water, fire have been frequently appeared onto the stage as another kinds of theatrical bodies and now it is widespread scenery we can meet in the theatre. Regarding this, some theatre people have begun to think with the audience that theatre stage may really exist; Theatre may not be mere a collection of empty signs for language and meaning as we heard from semiotics. We may need phenomenalistic approaches which entertain sense and body and open us to the object or material on the stage. From the view of Merleau-Ponty, body is perception, and a medium or a window that leads us to the world. In this sense, audience body is as important as theatre`s body. We may say that performance is made somewhere between theatre`s body and audience`s body. In fact, the audience participates in the performance with their bodies as well as with their intellect, eyes, and ears. Korean theatre have desirable condition to conduct theatre of body. Korean are familiar with spiritual energy ``gyee`` which is special concept or phenomenon common to Northeast Asians. ``Gyee`` means life, energy, and source of power. It exists between nothingness and being. Also it is pure spirit as well as pure material, and it reveals itself through human body as a vechicle. Performance arts including theatres are the best medium where ``gyee`` can be applied effectively. Performance art vitalizes ``gyee`` through the body and communicates with the audience through ``gyee``. First of all, acting exhibits ``gyee`` through the body, When performers act out their ``gyee`` they show abdominal breath, relaxed muscle, good circulation of blood, internal impulse, and creative psychological process through the voice, facial expression and movement. During the performance performer`s ``gyee`` is carried directly into the audience. On the other hand audience can return ``gyee`` to the performers after they received their ``gyee``, Heung is an another element of the Korean performing art whim flows out of the moment of mutual happiness and energy of both performer and audience. Many performers feel they are responding to audience`s ``gyee`` and ``heung`` with their mind and body, Korean modem theatres as well as Korean traditional performances have these spiritual and material energy of ``gyee`` and ``heung`` in the relationship of audience. In addition, it is interesting to note that the logic of ``gyee`` and ``heung`` has something common with the major tendencies of contemporary thoughts by Whitehead or Dleuze, the philosophy of material existentialism of formation, being, and becoming under the influence of modem physics of biology. 현재 서구 연극계를 중심으로 이루어지고 있는 ``몸의 연극론``에 관한 논의는 기대에도 불구하고 그 내용이 충분히 심층적이거나 체계적이지 못한 상태다. 또한 무대 위의 ``몸``을 대상으로 할 뿐 관객의 몸 까지는 다루고 있지 않다. 한국의 공연예술에서는 전통적으로 관객의 역할이 중시되어왔다. ``氣``와 ``興`` 등이 근저에 자리 잡고 있는 한국의 공연예술은 ``몸의 연극론``과 맞닿아 있을 뿐 아니라 ``관객의 몸``에 관한 논의의 가능성까지를 포함하고 있다. ``기``, ``흥``의 개념 들은 공연자 못지않게 관객의 존재성과 양자 간의 친밀하고 강력한 교류를 전제로 하고 있기 때문이다. 또한 우리의 몸 담론이라고 할 수 있는 기와 흥 의 미학은 내가 세계의 일부로서 존재하는 것으로 보며 나와 대상을 연결하는데 있어서 정신과 물질이 불분명하게 뒤섞이는 생성과 과정성을 중시하는 서구의 탈 근대적 철학과 과학에 맞닿아 있다는 점에 주목해야 한다.

연극에서의 현존(presence)

김방옥 ( Bang Ock Kim ) 한국연극학회 2015 한국연극학 Vol.1 No.57

관객의 바로 앞에서 공연이 이루어진다는 연극예술의 본질과 특성상 연극과 현존은 상호 불가분의 관계를 지녀왔다. 현존(presence)은 연극의 종류, 관극 환경, 시대적 양식 등에 따라 달라지는 개념이며 계속해서 무한히 변화할 수밖에 없는 복합적인 현상이다. 현존은 1) 지금, 여기에, 동시에 존재한다는 시공간적 직접성과 생생함 2) 대상에 대한 의식현상, 혹은 행하는 자와 보는 자의 관계 3) 알 수 없는 신비감이나 심리적 힘 4) 허구적 몰입, 연기적 기교, 미적 자율성 5) 몸, 물질성, 에너지 6) 철학적 의미에서 근원과의 합치, 존재론적 충일감, 혹은 재현과 시뮬레이션, 매개화와 기호화의 가능성 등의 개념들과 관련해서 때로는 긍정적으로, 혹은 회의적이거나 새롭게 조정하는 입장에서 논의되고 있는 중이다. 현재로서 현존에 대한 명확한 개념 정리는 불가능에 가깝다. 그럼에도 불구하고 현존에 대한 논의는 보다 활성화되어야 한다고 본다. 2000년대 이후 연극이 변화, 확장되면서 일류전, 허구, 완결성의 개념들이 무너졌고, 미디어 아트, 사이트스페시픽 아트, 설치예술 등 공연의 개념을 확장하는 새로운 형태의 작업들이 쏟아져 나오는데 이를 미학적으로 뒷받침 해줄 중요한 개념들의 하나가 현존이기 때문이다. 이런 상황 속에서 현재 우리 연극학계에서 현존이라는 개념은 매우 임의적으로 사용되고 있는 형편이다. 이 논문은 변화하고 확장되는 연극 개념 속에서 역시 변모하며 혼란을 겪고 있는 현존에 관한 생각들의 기본적인 지도 나마 그려 보자는 의도로 씌어졌다. Considering an intrinsic characteristic that theatre happens right in front of audience, theatre and the concept of presence have been inseparably linked through all ages in any aspect. Yet, it is quite impossible to define what the presence exactly means, in fact. Instead, it may be appropriate that the concept of presence would be taken a look by associating with other theatrical aspects: 1) the concept of here and now, temporal/spatial immediacy with co-existence and liveness, 2) flow of consciousness to object, and relation between performer(s) and spectator(s), 3) inexplicably mysteriousness and psychological power, 4) fictive immersion, acting technique and aesthetic autonomy, 5) body, materiality and energy, 6) pursuing accordance with origin in respect of philosophical meaning, ontological exuberance or representation/simulation, and possibility to be mediated or signified. The presence has been dealing with positively or somewhat skeptically depending on its different point of view. So, this thesis intends to trace a basic map on the changing idea of presence as theatre is also likely to become enlarged. In western theatre, it is assumed that the study on the presence started in 18th century, by researching acting and actors in particular. During that period, the presence generally denotes a mysterious charm, aura or a sort of power to attract and enrapture the audience toward a certain actor. However, the presence in the theatrical field has really begun in earnest to research from the late 20th century, when nonrepresentational and postmodern theatrical experiments have been comeout. As these kinds of theatres, in other words very sensual works beyond logical meaning of text, were likely to be increased, the idea of presence become actively treated with much attention on staging body and materiality. Before long, the concept of presence is become doubtful and skeptical by post-structural theorists whom give ground to postmodern theatre practitioners. As we may well know, Jacque Derrida claims that the presence that Antonin Artuad was eager to achieve is, in fact, impossible to reach. Phillip Auslander also has a skeptical look to the presence in theatre. He considers that the border between live art and mediatized art in this mediated society become blurred. Around the same time, in case of performance theories by Richard Schechner or Erika Fischer-Lichte, they rather bring the concept of performativity by deflecting away the concept of presence. It can be said that their studies open a breath toward a tension around the concept of presence in a way. As of today, the presence enters upon a new phase. Followers succeeded Derrida``s idea of deconstruction are likely to show a skeptical view on it in both practical and academic field. They assume that the presence as a self-fulfilling and transcendental idea cannot be fundamentally achieved. Yet, it does not mean to give up regarding the presence itself but rather ties to approach and translate it from a new point of view. After all, they try to show a quite progressive and flexible view on the concept of presence in both fields: The ideas such as absence, trace, memory, visual/spatial context, prozessualitat, media-performance are exemplified. The presence is something dynamic that can be freely transformed relying on theatrical context, time period, type of production etc. Considering its characteristic, the studies on the presence should be continued. As the boundary of theatre has been drastically enlarged since 2000, the concepts such as illusion, fiction, dramatic structure come also to be disintegrated. In this so-called new theatrical flow with such as site-specific theatre, media arts or installation, Iassume that the presence is one of the important ideas in order to aesthetically support these new theatrical experimentations.

무대 위의 남성의 몸: 재현, 현존, 해체

김방옥 ( Kim Bang-ock ) 한국드라마학회 2016 드라마연구 Vol.0 No.50

2000년대 들어설 무렵부터, 무대에 남성들의 (벗은) 몸이 등장하기 시작했다. 여성주의의 감시와 법적 검열을 피해 여성의 (벗은) 몸을 대체한다는 의도도 있겠지만 몸과 쾌락의 시대, 소비 자본주의 시대가 오면서 남자들도 몸을 가꾸고 스스로의 미에 도취하기 시작했으며 그런 남성들을 즐길 만큼 여자들의 사회적, 경제적 지위도 높아졌기 때문일 것이다. 그렇다면 이제 남성의 몸은 여성의 쾌락적 시선의 대상이 된 것인가? 만일 그 대상에 머무르지 않는다면 몸의 연극의 시대에 그들이 무대에서 과시하는 남성적 몸의 정체는 무엇인가? 그리고 해체의 시대에 무대 위 남성의 몸을 보는 시각은 어떤 변화를 겪고 있는가? 본 논문은 이런 문제들에 접근하기 위해 로라 멀비(Laura Mulvey)의 「시각적쾌락과 내러티브 영화(visual pleasure and narrative cinema), 1975」를 출발점으로 삼는다. 영화에 있어 여성주의적 관점과 재현미학의 문제를 정신분석에 의거해 다룬 그 글은 영화 속의 여성의 몸은 남성적 시선에 의해 시각적 쾌락의 대상물이 된다는 내용을 담고 있다. 그렇다면 이런 멀비의 이론을 무대 위의 남성의 몸에 대입할 때 재현, 현존, 해체라는 세 가지 연극미학적 범주 속에서 그것은 어떻게 적용되고 변용되며 이탈하는가? 1. 재현 멀비에 의하면 영화를 보는 남성관객의 시각적 쾌락을 지지해주는 프로이트식의 내러티브는 1) 여성을 평가절하, 처벌, 용서, 구원 하는 등의 극적 사건을 통해 그녀를 지배하고 통제하는 관음주의적이며 새디즘적 방법이고, 2) 여성이라는 육체적 대상 자체에 에로틱한 본능을 집중시키는 물신적 시각쾌락증(fetish sochopophilia)이다. 원래 남성 중심적인 프로이트적 내러티브에 여성 대신 남성을 전치할 수 없으므로, 남성을 대상화할 수 있는 재현의 내러티브는 시대의 변화를 빠르게 수용하는 광의의 멜로드라마라는 개념에서 찾아볼 수 있다. 2. 현존 여성의 시선의 대상이 되는 연극이나 영화 속 남성의 몸은 여성과 달리 한가지 의미를 더 지닌다. 1) 여성의 쾌락적 시선의 대상으로서의 수동적 대상이기도 하지만, 2) 남성적 아름다움은 근육의 단련이나 힘의 과시, 자기도취, 나아가 권력의 쟁취와도 연계되기 때문에 양상이 복잡하다. 이런 문제는 멜로드라마보다 포스트모던한 폭력영화나 남성적 에너지를 과시하는 몸의 연극에서 잘 드러나는데 남성의 벗은 몸은 흔히 내러티브를 넘어서서 몸과 힘과 에너지의 폭발적 과시로 관객을 압도하기 때문이다. 이런 작품들은 단편화와 공허한 에너지로 대변되는 포스트모던 미학의 일반적 특성과도 합치하며 이 경우 남성의 몸은 연기적 주체의 관점에서 또한 관객의 시선이라는 관점에서 분열적양상을 보이는 경우가 많다. 3. 해체 역사·문화적으로 자아도취, 자유, 해방감, 공격성 등, 뿌리 깊은 자기동일성과 자아의식에 기초한 남성의 몸도 타자와의 진정한 교류, 공감, 관객의 입장에서의 다양한 해석과 수용을 허용할 수 있다. 일차적으로 호기심이나 쾌락적 대상에서 벗어나기, 극사실주의에 의해 섹슈얼리티로부터 해방되기, 불분명한 성정체성의 시선의 대상이 되기, 유머를 포함한 다양한 의미의 장을 통해 섹슈얼리티를 새롭게 텍스트화하기 등을 통해 현재 남성 몸은 해체적 관점을 향해 다각도로 열려있다. It tends to be seen that we have watched the (naked) body of man on stage since around 2000. There may be some reasons to lead this phenomenon in that time: Intention to avoid a sort of censorship, highly increasing interest to physical beauty for men under the influence of consumer capitalism, pleasure and fascination, and rising in social economic position for women enough to enjoy this kind of fashion. Then, is the male body only considered as an object for women``s perspective? What do we think of the tendency to reveal the body of men in the name of theatre of body? How does our perspective on the male body on stage have been changing through the time of deconstruction? In order to approach these issues, I lean on the influential writing of visual pleasure and narrative cinema written by Laura Mulvey in 1975 as a starting point the way how theatre reflects. Dealing with the issues of feminist standpoint and representing aesthetic in cinema based on psycho-analysis, it says that the body of women becomes the object of visual pleasure by male gaze. Then, what if I take her theory into my article? I focus on to study how it could be applied and transformed particularly in the aspects of three theatrical aesthetic: representation, presence and deconstruction. 1. Representation Mulvey accounts to two aspects on which the cinema offers possible visual pleasure in looking for male audience: First, he gazes female character as a sexual object, and his determining gaze protects the phantasy on the female figure. Second, as a spectators identifies with the main male protagonist whom he projects his look on to that of his like, the man controls the film phantasy and further emerges as the representative of power. If we think of it in a way of Freudian narrative that women is one with absence of penis, men could be freed from the fear of phallus-catastration: For one, he takes voyeuristic and sadistic activities in order to control women though the narrative of devaluation, punishment, forgiveness, salvation or such like. For the other, he bears the fetish sochopophilia with taking woman as an erotic object and subjecting them to controlling and curious gaze. As we cannot simply display women into men``s position in the Freudian philosophy, it may be appropriate to think of melodrama as an example of representing narrative to make man as an object. Let``s say, the structure of cinderella-man narrative can be mentioned: one female character who has a dominating social power falls in love with an ordinary man, and she literally turns over his life with a happy ending. Spectators ends up identifying with the female character and enjoying his body and sexual attractiveness. This sort of cinderella-man story is not so common to find in theatre but very popular in TV series or musical. 2. Presence Male body has another meaning compared to the case of female characters in cinema or theatre. While he becomes the object of pleasuring gaze for women, this case has even more complex aspect to take a look because men``s bodily beauty is also related to training muscle, showing off masculine power, narcism or even achieving an authority. These aspects are commonly seen in post-modern action movie or theatre of body especially with erupting masculine energy -than the melodrama- because it is likely to dominate spectators with body energy and masculine power beyond the meaning of narrative. Meanwhile, the energetic powerful body of men conforms to misandry or hatred of men related to the perception of violence or an innate respect of authority in a literary meaning. In this case, the body of men reveals a splitting aspect in perspectives of an acting subject as well as audience``s gaze. 3. Deconstruction The body of men -having senses of narcism, freedom and aggression - is historically and culturally connected with a concept of identification or a sense of identity. That is why it reveals complex deconstructing aspects unlike women who have an apparent patriarchic subject toward oppression. The body of men locates even more dynamic position to show off diverse charms from biological energy and aggressive sexuality to attractiveness in a sense of consumer capitalism. However, in order to achieve an authentic exchange or an empathy with others, the body of men should be an object to deconstruct the representation, the self, presence, narcism or etc. In fact, it is not rare to watch these kinds of productions. The ways to be deconstruct for the body of men can be exemplified like below : Getting out of curious gaze or visual pleasure, overcoming the sexuality under realistic notion, becoming the object of ambiguous sexual identity, doing a new writing on sexuality to create various meanings: For example, with an humor.

탈근대 희곡에 나타난 인간동물의 탈경계성 연구 -``타자성``, ``-되기(devenir)``, ``생태적 공존``을 중심으로

김방옥 ( Bang Ock Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.48

In these days, we come across a growing interest in animals from various perspectives. Considering that the posthumanistic point of view forms the major stream of postmodern humanities, ethics and philosophies, this paper tries to study the liminality between human beings and animal as appear in postmodern plays. The cases of a middle-aged architect falling in love with a goat (The Goat, or Who is Sylvia? by Edward Albee); An abandoned (human-)dog that encounters his old mistress under the moonlight (A leaseholder by Yoon Young-sun); Coexistence of men, dog, plants in a Country life (White Cherry by Bae Sam-sik); A Mutual sympathy between a swarm of bees and a woman dying of cancer(Bee by Bae Sam-sik) were discussed referring such concepts as ``Otherness`` of Derrida, ``Becoming`` of Deleuze, ``a bare life`` of Agamben and ecological co-existence. In The Goat, the moment of Martin who happened to meet a goat`s eyes in a suburbs can be paralleled with that of Derrida who one day found himself caught up with the gaze of a cat in the bathroom while he was naked. They shared the common experience in that they went through the ontological and mysterious abyss that rendered them to raise the question of “Who am I?” In A leaseholder, a young woman returns to her hometown exhausted by the calculating human society and meet her old-time (human-dog). This story reminds us of Agamben`s werewolf, Levinas`s dog Bobby and Derrida`s Zootobiography. He, an abandoned pet, both excluded and included from human society, now appearing as a mysterious human-dog, welcomes, embraces, and comprehends his old mistress and exposes his individual remorses and passions as an animal-subject. In White Cherry, the author describes the coexistence of all the life-beings such as an old dog, a golden bell tree, the deceased daughter and even a fossil remains in a country life. Bee is a story of a beekeeping village where bees were leaving and disappearing. A swam of bees fly down on a woman who was dying of cancer. With physical and spiritual empathy the dying woman helps the swarm of bee to conduct a new birth and a new life.

글로컬시대 연극의 역동적 교류와 그 담론들 -비스 교수가 제기한 오태석 연출 <템페스트>의 문제점들에 관한 재고-

김방옥 ( Bang Ock Kim ) 한국연극학회 2013 한국연극학 Vol.1 No.51

최근 수년간 한국에 머물며 한국연극을 집중적으로 연구해온 프랑스의 연극학자 파비스(Patrice Pavis)는 2012년 가을 한국연극학회가 주최했던 <포스트 아방가르드 이후 연극의 방향성>이라는 주제의 국제심포지엄에서, 오태석이 연출했던 셰익스피어 <템페스트>의 해외공연을 중심으로, 그 연출적 문제와 셰익스피어의 한국화 현상들에 관해 신중하면서도 신랄한 비판을 가한 바 있다. 파비스가 “한국의 연출”이라는 발표문을 통해 제기했던 문제는 ‘한국연극에서 ‘연출’이란 무엇인가?‘ ‘번안, 각색, 재창작’ 들의 범주는 무엇인가?‘ ‘한국화란 무엇인가?’ ‘오늘날 ‘한국화’는 가능한가?’로 요약될 수 있을 것이다. 이어서 같은 해 한국을 떠나기 직전 그는 국내 저널인 <공연과 이론>에 기고한 「글로벌 연극」이라는 긴 논문을 통해 세계 연극의 글로벌화와 오태석의 작업을 포함한 한국 연극의 글로벌화의 문제점들에 대해 심각한 우려를 표한 바 있다. 전반적으로 파비스 교수는 ‘원전적 정체성’과 ‘체계적 연출미학’, 그리고 ‘기호학적 커뮤니케이션 모델에 의한 각색’이라는 전제들을 지키는 문화상호주의 연극에 대해 호의적인 반면, 글로벌 연극이나 탈근대적 이론들에 대해서는 회의적인 듯하다. 이 글은 오태석 연극에 대한 그의 매우 조심스러운 비판에 대해 부분적으로 반론을 시도한다. 그러나 그의 우정어린 충고들은 한국연극이 글로벌/글로컬 시대에 위치하기에 도움이 될 것이다. * 정전(正典)은 아직도 유효한가? 파비스 교수는 한국에는 극작과 연출 사이의 구분도 없을 뿐 아니라 번역, 번안, 각색, 재창작의 개념과 경계가 매우 불분명하다고 당황해 한다. 아울러 오태석의 언어들이 대부분 원전 언어에 비해 피상적이라고 지적한다. 그는 글로벌시대의 아시아 국가들의 셰익스피어 공연들이 원전의 존재, 원전 텍스트의 언어적 가치를 존중하지 않는, 제약 없는 작업이라고 보고 있는 듯하다. 그러나 탈근대 이후의 재창작은 세계적으로 일반화된 추세이다. 원전 텍스트의 존재를 추적할 수 없다는 것과 원전 텍스트에 기반해서 얼마나 자유롭게 재해석하고 재창조 했느냐 하는 것은 별개의 문제이다. 마찬가지로 원전의 언어를 얼마나 잘 보전했는가와 원전의 언어를 충분히 이해하고 재창작하느냐의 문제도 성격이 다른 것이다. Dennis Kennedy는 “셰익스피어의 보편성은 초월성이라기보다 순응성(malleability)에서 오는 것”이라고 한다. 오늘날의 글로벌 시대의 ‘차이’는 ‘중심 없는 차이’다. 따라서 우리가 추구하는 차이는 서구, 정전 텍스트라는 중심으로부터의 ‘차이(difference)’를 넘어 차이의 끊임없는 지연을 즐길 수 있는 ‘차연(difference)’의 유희에 가깝다고 할 수 있다. * 연출-공연적 기호화냐/퍼포먼스냐? 파비스 교수가 제기한 정전/재창작의 문제는 그가 매우 중요한 요소 및 절차로 여기는 ‘연출’의 개념과 밀접한 관련이 있다. 파비스는 유럽적인 의미의 연출이란 ‘배치, 배열, 구조 등의 의미를 가지고 있으며 이는 공연을 통해 연출가의 의도와 전략이 분명히 분석되고 설명되며 구체적 관객에게 전달되는 것을 의미한다. 그런데 한국의 연출에는 이러한 체계적인 의미화가 충분히 이루어지 않고 있다는 것이다. 오태석에게 있어서 리드미컬한 패턴이나 그것이 야기하는 통감각적(kinesthetic) 지각들이 의미보다 더 중요하다는 것이다. 오태석은 70년대부터 50년 가까이 이런 퍼포먼스적 성격의 작업을 해왔으며 그의 이런 경향은 한국의 전통연희의 특성과도 맞닿아있다. 그리고 오태석의 경우 뿐 아니라 오늘날 탈근대, 포스트 드라마시대의 연극적 감각은 언어나 연극 기호학적인 의미의 체계적인 구축이나 분석보다 에너지, 신체성, 즉흥성, 수행성, 관객과의 일체화들을 더 중요시한다는 점은 다시 말 할 필요가 없다. 2006년 바비컨 센터에 초청되었던 오태석과 양정웅의 두 셰익스피어 공연을 본 브라이언 싱글톤은 “텍스트적 원전에 가깝다고 할 수 있던 영어권 관객들은 어느새 대단히 시각적이고 신체적이며 때로는 비텍스트적인 스펙터클의 일부가 되어버렸다”고 한다. * 한국화는 어떻게 가능한 개념이냐? 파비스는 오태석 연극은 위계성의 부재나 혼종성을 드러내며, “심지어 전근대주의로 돌아가는”데 이는 글로벌 연극의 한 특징으로도 본다. 또 전근대주의는 흔히 ‘자문화중심주의(intracultualism)’라는 이름을 취한다고 하면서 오태석의 연극에는 너무나 많은 판소리, 창, 탈춤 같은 너무 많은 ‘한국주의(koreanism)’가 있다고 지적한다. 그는 Benedict Anderson의 ‘상상의 공동체(The Imagined Community)’ 개념을 인용하며 ‘실제’ 한국적인 것의 재현은 있을 수 없으므로 “한국화는 문화적 요소들을 인용하고 재구성하는 것이지 ‘실제’ 한국의 요소들을 모방하는 것이 아니다”라고 한다. 이국주의에 빠져서는 않된다는 그의 우려에는 충분히 공감하지만 ‘한국화’가 ‘한국적인 기호들’을 인용하는 것으로 충분하다는 그의 충고에는 재론의 여지가 있다. 적어도 오태석에게 있어서 연극은 인용되거나 체계화된 기호들의 집적 이상의 그 무엇인 것이다. 그러나 한국연극의 특징적 요소들을 존중하더라도 ‘한국화’가 막연한 초월적 보편주의나 시대착오적 민족주의로 변질되도록 방치해서는 안될 것이다. 이를 위해 연출에 있어서의 시대적, 역사적 맥락을 중시해야한다는 파비스의 충고는 받아들어야 한다. Singleton은 오태석의 연극의 일차적인 목적이, 알 수 없는 특징들을 섞어 연극을 무작정 혼종화(hybridizing) 시키거나 외국인들의 입맛에 맞추는(appropriating)것이 아니라는 점에서 ‘문화상호적’이라기보다 일단 자문화중심적(intracultural)이라고 본다. 그러면서도 오태석의 자문화중심적 공연이 자국인 뿐 아니라 외국인에게도 어필하기에 오태석의 연극은 새로운 문화상호주의, 혹은 글로컬한 공연의 긍정적인 한 예가 될 수 있다는 것이다. 다만 싱글턴은 오태석의 공연이 ‘새로운 의미의 문화상호성’을 획득하기 위해서는 공연 안에 ‘타자성(otherness)을 포함하고 있어야한다는 중요한 제언을 한다. 오태석의 연극이 한국인과 세계인에게 함께 감동을 주는 글로컬 연극으로 자리매김 되기에는 아직 문제가 많다. 그는 나이가 들수록 다시 근원적 민족주의라는 신비적 거대담론에 이끌리고 있다. 한국연극이 한국이라는 지역성과 함께 이를 뛰어넘는 더 큰 문화적 공동체의 일원이 되기 위해서는 뿌리 깊은 서구중심적 보편성이나 오리엔탈리즘의 유령에 재 포획되지 않으면서 민족주의의 본질론 속에도 가라앉지 않는, 더 작은 지역성, 더 다양한 타자성, 끊임없이 자기분열하며 요동하는 차이의 생성이 필요하다. Academic interest in the adaptation of theatre canon for local and global performances as a topic of research and investigation has intensified recently in the wake of attempts to think about how Korean local performance practices can be evaluated within and outside traditional critical frameworks for theorizing theatre. A deconstruction and reworking of Shakespeare`s <Tempest> by Oh, Tae-suk, for example, has used a range of Korean performance traditions and his attempt to go from local to global has been viewed by many as an example that seeks to carve out a distinctive Korean cultural identity, while providing a model for the future of Korean theatre that is exotic, slick and transferable across cultural and national boundaries. Such an effort, however, has prompted a serious theoretical debate on what Korean theatre ought to be in the age of globalization. Professor Pavis, for example, points to the other side of the same phenomenon: In spite of its cleverness, exotic surface gloss, and the hint of Korean culture, Korean theatre as such is said to be fundamentally out of place in terms of ‘identity of source theatre’, ‘systematic mise-en-scene``, and adaptation process based on semiotic communication model. This essay is an attempt to reply to his arguments by synthesizing his criticism and a more open-ended theory that displaces existing concepts. At the heart of this synthesis is the argument that Korean theatre should move beyond Koreanness as a sign of cultural fundamentalism and produce, instead, a cultural difference that retains its roots in local, while it is constantly moving to global, with endless shiftings and slidings of that cultural identity.

2000년대 이후 오태석 연극에 나타난 동물 연구 -"동물-되기"의 가능성을 중심으로-

김방옥 ( Bang Ock Kim ) 한국연극학회 2012 한국연극학 Vol.1 No.46

The Plays of O Tae-suk since 2000 differ from his works before. His theatre that had been full of terrible memories of Korean War, social anger, and personal traumas now begins to talk about forgiveness, reconciliation, life, and environment. In these days, various animals appears in his works such as Dancing with a fox, A centipede and an earthworm, DMZ my love, Galmury, Hi Bookchung Lion, The story of Arunggugi, including the reinterpretation of Romeo and Juliet and Tempest. by Shakespeare. It seems to be true that he became interested in ecology, life itself and may have became fed up with human-oriented society. However, the animals of O tae-suk`s theatre are neither fully self-conscious nor well arranged in terms of theatre aesthetics so far. All that he wanted with animals on stage might be nothing but to tell the story vividly with allegorical devices or to just ``play`` with non human beings giving himself up to his own theatrical temper and instinct. To offer his theatre a possible aesthetic dimension and mapping vision, this paper tries to examine the appearance of animals in his recent works with the view points of 1) representation of animals, 2) presentation of animals and 3) ``animal-becoming(devenir)`` of Deleuze. 1) Representations of animal are carried out through various symbolic devices and personification of animals. The acting of human actors tend to be imitative of animals while the behaviors and appearances of the personifies animals resemble those of human. Animals become symbols regarding the themes of the plays. Ethically dualistic divisions are found among symbolized animals. Often the divisional line are drawn between purity(nature)/ pollution (civilization). But more noticeable duality is formed between the good-for-human/bad-for-human which is more human-oriented and practical concept. So, the domestic productive animals like duck and goat, not the pets like cats or dogs are favoured in his work, and with them O`s real ecological chain could be accomplished. Animals in folktale that personify human wishes also appear often, 2) Since O is a born-to-be a strongly theatrical person and his theatre is beyond logic, the animal on his stage tend to break through representational illusion and the logical network of meaning. For instance, his languages describing animals are more to sound and ear than to meaning and brain. Songs and dances expressing animals enrich the grains and the texture of the performance. Certain unreality and the liveliness of animals stimulate the energy, rhythm and physicality of O`s theatre. 3) Are there any possibilities that the human actors be free from representing or presenting animals in O`s theatre? that animal cease to be ``others`` to the human? and that the human and animal get closer to each other and inter-transform in the field of existence, physicality, and flow of energies of O`s theatre? Deleuze`s ``becoming`` can be a approach to this question. In Dancing with a fox, an innocent girl from Yonbon, a korean district of China, not yet polluted by post-capitalism of South Korea is, physically identified with the imported foxes from Yonbon, an animal almost had been perished in Korean peninsula. In Galmury, The village elders mingled themselves physically and intensively with wild animals. In O`s reinterpretation of Romeo and Juliet, vitality and life force of the young lovers were emitted through those of the animals. In Tempest the deterritorialized island of Prospero was filled with various animals. It should be mentioned that there is an important difference between Deleuze and O Tae-suk in that O does not share the political attitude such as ``line of flighte`` or the anti-humanistuc notion like ``machine`` of Deleuze. However, It will be noteworthy that elements such as unstability of identities, the physical and transformative vision of the world, interest in a flow of energy, process-oriented attitude are what they have in common.

삶/일상극, 그 경계의 퍼포먼스 -박근형의 초기 소극장 연극

김방옥 ( Bang Ock Kim ) 한국연극학회 2009 한국연극학 Vol.0 No.39

This thesis attempted to examine the theatre of Park Keun hyung, one of the most productive and provocative contemporary Korean writer-directors, mostly in terms of `performance theory` such as `in-betweenness of life and theatre`, performativity, materiality, improvisation, process, metonymy, and audience`s reception. Also I tried to view Park`s theatre with sociological and anthropological aspects. 1. Theatre as an extension of life. Park understood art/life or theatre/life not as separated things, which means he considered theatre as an contiguities of real life. He portrayed the everyday lives of poor people, that include the very realities of the theatre people and actors around him. Aside from the affluences of the commodities in the post-industrial society, the poverty made their lives and activities very simple but strong. And that simple but strong activities could carry a possibility of performance and performativity. 2. Very small theatre space and the resurrection of materiality. Park dealt with everyday lives of poor people with a hyper-natural detail and mostly due to the economic difficulties, he produced his plays in a very small (about 50 seats) and poorly equipped theatre stage. Usually his play need only a bare room with very simple and few things such as a small table for eating and a blanket. So he doesn`t have to `represent` a room but he used a small stage just as a room in the play, a continuation of real life. So the bare room and a few things exist between `represented space` and `real space`, which permit the actors and the audience a free sense of materiality and performativity, 3. Actng as a revelation of actor`s real life. Park treats the member of his theatrical company as his family. He spent more time in talking and drinking with his actors than in rehearsal to know them better. He believed that acting is to reveal the actor himself and to talk about himself. According to Schechner`s 7 steps of performance, his efforts can rather be considered as a workshop stage than as a ordinary rehearsal process. 4. Theatre of process-collective and performative writing. Park does not seek to make his play as a complete art-work. He rather enjoys the process working with his actors. He asks the actors to write about himself or to improvise during the workshop, then he later lace them into a producing text. The text won`t be completed until the first night or he constantly rewrite the text after the show has started. He and his actors connects scenes not with logic or with the mechanism of metaphor but with impulses, whims, and with the sense of metonymy, a theory of uncertainty and contiguity. 5. Audience response-a cracked collectivity. Beside poverty, Park`s play talks about the family relationship. The way Park talk to his audience is complex, double-minded and meta-narrative. On the surface, his plays are calm and humorous, but underneath the surface, the audience find the cracked collectivity, a collapse of family relationship, especially a parody of patriarchal system. His messages are not fixed or completed yet. So the audience can participate and make the meaning of the play with Park and his actors.

한국 현대 연기에 있어서 전통적 요소의 수용과 모색 -탈춤사위의 도입부터 "한국적 연기의 원리"까지-

김방옥 ( Bang Ock Kim ) 한국연극학회 2006 한국연극학 Vol.0 No.28

This article traces the history of acting in modern Korean theatre and focuses on its efforts to adopt the indigenous theatrical mode of presentation. The cultural efforts started in the 1970s as part of new theatre movements that attempted to incorporate some elements of traditional Korean performing arts. It also coincided with a paradigm shift that tried to make a break with westernized theatre styles, in general, and western realist acting techniques, in particular. Ho Kyu and Son Jin-Chaek were primarily responsible for creating a new style of acting based on local dramatic traditions. They founded Minye Theatre and sought to bring its productions closer to the spirit of traditional pansori and mask dances. For this task, they trained their actors and actresses to embody the spirit of cultural consciousness in their performances. Their effort was significant as they continued to discipline them with a sense of mission, that is, a traditionesque approach. From the 1970s to the 1980s madang emerged as a showcase of Korean folk performance with very explicit contemporary political messages. It sought to establish an indigenous acting philosophy which was different from that of western conventions. In other words, it tried to recapture, by means of such devices as direct audience address, a projecting stage as opposed to the proscenium-based performance spaces, the free-and-easy interaction between performers and audience that characterized madang plays. Today, many of these innovations have become standard practice in the performance of little theatres. Meanwhile, Yu Duk-Hyung and Ahn Min-Su at the Drama Center and Kim Jung-Ok at Jayu Theatre began to experiment on the basis of western experiences with Asian bodily movements rather than seeking to establish only the Korean style. They claimed that such Asianness in their movements are intrinsic in the Korean body and consequently they tried to represent it in the performances of meditation, impromptu and collective creation. Oh Tae-Suk too believes that every Korean embodies the Korean structure of feelings in addition to his or her own movements and rhythms. However, in each individual performance, Korean practices and language are considered more important than the abstract concept of movements when they are associated with the process of characterization. He also stresses the importance of practice to speak actor`s actual lines based on the traditional rhythm. Since the early 1990s, Lee Yun-Taek has systematized the Korean way of teaching acting by embracing Korean sound and bodily techniques and also by returning to the way of breathing that can be found in Korean folk performances. The Korean way of movements and breathing, as he describes, result from a natural breathing process that involves the storage and release of air stored in the pelvis. As such, there have been numerous attempts to adopt the indigenous theatrical mode of presentation. Unfortunately, however, their efforts haven`t converged on one direction and such diverse ways of achieving the common goal don`t necessarily mean `progress`. Rather, their efforts can be classified into three distinct categories. First, the effort to position Korean theatre in an advantageous relation to the traditional has been renewed by those practitioners who cherish the great traditions of local culture such as pansori and mask dances. This group can thus be called diachronic historians who stress, more than anything else, actor`s bodily discipline in order to learn indigenous techniques. Second, there is also a group of people who try to re-establish Korean way of acting on the model of western theatre tradition. This approach necessarily sees local theatre from the global perspectives and consequently there is a danger of Orientalism, although it can be effective in the age of globalism as a common denominator for the global culture. The final approach is similar to that of Eugenio Barba whose anthropology of theatre empha