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환상과 현실의 전도(顚倒) : 샘 셰파드(Sam Shepard)의 Fool for Love
柳英均 서울市立大學校 1987 論文集 Vol.21 No.1
One of the themes most frequently and conspicuously presented in Sam Shepard's plays is 'the conflict between fantasy and reality.'The word 'fantasy' could be otherwise paraphrased to mean in most of his plays a manifestation of an internal impulse to break out of such established and already well-defined 'frames' of reality as habit, ways of living, custom, existing social systems, or other preoccupied ideas. When we reflect more about it, we might have to admit that such an impulse is a universal one that every human being more or less has. We might say that Sam Shepard simply espresses such a universal human impulse in an intensive and powerful way by juxtaposing it against the fantastic atmosphere that permeates most of his plays. In his play Fool for Love, Sam Shepard presents such a theme in a way very peculiar to himself. He sets up as theatrical reality a seemingly nonsensical and fantastic circumstances in which a man and his half-sister madly fall in love with each other. On the other hand, Shepard makes their father who appears in the play as 'the Old Man' into a character who exists only in the minds of these two incestuous lovers-Eddie and May. While Eddie and May impulsively plunge themselves into a very sensual love fantasy, the Old Man tries to break them apart by reminding them of those ethical and moral limitations in reality. An analysis attempted in this paper is, accordingly, based on the premise that fantasy and reality have their places reversed in this play. In other words, offstage fantasy is turned into onstage reality while offstage reality is depicted as onstage fantasy. The every day world does not usually have a place in Shepard's works. Only the glimpse of our every day reality occasionally shows itself within the form of 'theatrical fantasy.''instead, Shepard's plays offer us 'a theatrical reality' full of sensational and sensuous images. We find his Fool for Love also full of shock, thrill, exitement, and every other things we don't usually have in our daily lives but often 'dream' about through those disposable pipedreams being manufactured en mass by those film, television, and other mass media industries of modern society.
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Aleksandr Ostrovsky의 희곡 The Storm과 The Forest에 나타난 상징의 환경적 배경
柳英均 서울市立大學校 1983 論文集 Vol.17 No.-
문학중에서도 특히 희곡문학에서는 거의 예외없이 한작품 전체가 그 작품이 궁극적으로 나타내고자 하는 아이디어를 일관성을 유지하는 단일한 상징적 구조를 통해 표현하고 있다. 그런 의미에서 본다면 한편의 희곡작품은 그 자체가 바로 윌 현실을 반영하는 하나의 상징으라고 할 수있다. 한편의 희곡을 읽을 때 그 작품이 지닌 상징적 구조를 파악함으로써 하나의 명확한 심상(心象)을 우리 마음속에 그릴수있게 되고 그러한 「틀」을 통해서 우리는 그 작품이 지니고 있는 분위기나 아이디어를 보다 분명하고 쉽게 이해할수있게 되는 것이다. 하나의 아이디어가 뚜렷한 형태를 지니고 부각되어질수 있게 하기위해 희곡작가는 여러 가지 제반 요소들을 선별하여 구성함으로써 하나의 조화된 「틀」을 만들고 이를 통하여 집약적이고 함축성있는 의미를 창조해 내고자 애쓴다. 희곡작품에서 표현하려는 아이디어의 「틀」을 이루는 가장 중요한 요소가 바로 상징(Imagery 혹은 symbol)이다. 본문에서는 Ostrovsky의 희곡작품에 나타나는 상징들이 다른 희곡들에서 흔히 보는 바와 같이 줄거리의 전개를 돕거나 극중인물의 갈등을 간접적으로 표현하는 기능적인 면을 지닐뿐만 아니라 더 나아가서 작품전체의 분위기나 주제를 보다 포괄적으로 나타내주는 시적이며 총체적인 상징들이라는 점을 지적하였다. Ostrovsky의 상징들이 이렇듯 포괄적이고도 깊은 함축성을 갖게되는 이유로서는 이들이 단순히 극적효과를 높이기 위해 극작가가 임의로 창조해낸 기능적인 상징들이 아니라 오랜 세월동안 러시아의 제반 생활환경속에 깊이 뿌리를 내리고 잠재해온 전통의 일부분이라는 점을 들지 않을 수 없다. 이들 상징들이 갖는 함축성을 보다 구체적으로 깊숙히 파헤쳐보는 것이 Ostrovsky의 작품속에 담긴 상징성을 제대로 이해하는 지름길이라고 판단되어 참고자료가 부족한 실정이나마 몇몇 문헌들을 통해 러시아의 역사, 문화, 지리, 종교등 제반분야에서 이글의 주제와 관련되는 사실들을 찾아내어 Ostrovsky의 희곡에 나타난 상징들이 어떠한 환경적 배경을 갖고 있나 살펴 보았다.
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이태리 가면극 COMMEDIA DELL'ARTE에 관한 연구: B.C.1500년대 시초부터 현재까지
류영균 서울市立大學校 1994 論文集 Vol.28 No.-
Unlike the actors of classical theatre who play characters, ignoring the audience, as if they were living in a universe of their own, the players of commedia dell'arte are required constantly to mix with the audience or to acknowledge their presence in one way or another. Commedia actors do not attempt to imitate reality. Throughout their performance, they not only acknowledge the presence of the audience but also remind themselves as well as their audience of the fact that what's going on is nothing but a series of make-believe acts. In the Lazzo of the Chase, the Captain, with a drawn sword, chases Coviello. Instead of running around all over the stage, they remain on the state in a stationary position as they mime running, each slightly out of reach of the other. As they run, each begins to acknowledge the audience's response. And a frank, smacking destruction of theatrical illusion is undertaken in many of such routines involving actors talking to spectators, mingling or sitting with them, recognizing them as old friends, neighbors, or even enemise they dislike and are tempted to insult. These theatrical routines are not entirely unfamiliar to modern audience who has frequented modern companies who keep up the traditions. We find basically the same or very similiar routines not only in pantomimes or music hall acts but also in the productions of such well-known major works of Shakespears, Moliers, Blok, Meyerhod, and Dario Fo. Beckett also borrowed on the traditions of commedia to create his tramps in Waiting for Godot. Ionesco and many other absurdist playwrights made much uses of commedia tradition in creating their plays. Thus, many of the traditions of commedia dell'arte still live on among us. Bari Lolfe raises a question in his book COMMEDIA DELL'ARTE : "Why in spite of the scarcity of productions and training, is there a present vogue for commedia dell' arte?" And he concludes that perhaps it is due in part to the concept of theatre that began with the Theatre of the Absurd and continues to this day. According to his explanation, in the 50's and 60's, "much of the new theatre became more physical and less literay;characters more outlined and less psychological; plot gave way to situation; improvisational theatre came into fashion," Martin Esslin states that commedia dell'arte is one of the ancient traditions embodied in the Theatre of the Absurd. The two theatre forms, in fact, have much other features in common : text is minimal and sometimes illogical; characters are frequently fixed and predictable, and do not change in the course of the play -- like unchanging masks.
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Aerodynamic Characteristics and Flow Structure of Hawkmoth-Like Wing with LE Vein
류영균,장조원,정준 한국항공우주학회 2022 International Journal of Aeronautical and Space Sc Vol.23 No.1
Aerodynamic force and flow vector-fields were measured using a 3-DOF robotic model mounted with a flexible wing with leading-edge veins to study aerodynamic characteristics in a hawkmoth hovering motion consisting of translational, rotational, and deviational motions. The flapping motion was asymmetric between downstroke and upstroke, causing the different aerodynamic performance. In particular, the wing experienced advanced rotation before the end of the downstroke, augmenting lift. This lift increase was caused by the encounter of vortices generated during the downstroke, inducing the rapid flow toward the wing surface. In addition, the amount of lift generated in the upstroke was similar to in the downstroke, whereas the drag amount was not. During the upstroke, the wing motion had a higher rotation amplitude, leading to low angles of attack in flapping. The wing with the low angles of attack flapped down like a bird, enhancing the lift and hindering the drag. These results demonstrate that the hawkmoth motion obstructed the LEV dispersal by taking the wing–wake interaction effect and appropriately using rotational and deviational motions, achieving high aerodynamic performance in an asymmetrical motion. They also suggest that the hawkmoth flight is still an important model for developing flapping-wing micro aerial vehicles.
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