한트케의 침묵극에 나타난 몸담론의 의미 : 「우리가 서로 알 수 없었던 시간」의 예에서

류재국 국제언어인문학회 2020 인문언어 Vol.22 No.1

In February 2019, Handke’s silent play, entitled “Die Stunde da wir nichts voneinander wußten”, was performed in Seoul. The play was originally completed and had its maiden performance in Germany in 1992. Handke’s play brought social issues to the stage in a unique way through silence and body language. In an era where existing plays were produced based on lines and dialogue, this play, stood out in stark contrast. This silent play received little attention as it was overshadowed by various forms of experimentation in postmodernist plays. Handke was making a declaration of independence through his play, which he viewed from an aesthetical point of view with critical acceptance, to escape from the world of existing dialogue based plays and broaden the audience’s opportunity to become actual participants. Handke’s reputation as an avant-garde playwright was established in the early 70’s with his play “Publikumsbeschimpfung” and his play, “Die Stunde da wir nichts voneinander wußten” has only strengthened this reputation. “Die Stunde da wir nichts voneinander wußten” is a play which is born out of the remorse for modern people’s misuse of oral language and the existentiality which is to never give up. Handke’s aim was to focus on one’s self existence instead of the private possession of one’s self. Handke endeavoured to pursue the formation and dissolution of one’s self, through physicality and purposefully used silence to enhance that physicality. Using body language, Handke managed to replace the lethargic language found in traditional plays that do not express the extent of everyday painful realities. The meaning of body discourse in “Die Stunde da wir nichts voneinander wußten” tells the importance of communication through body language which has been forgotten and replaced by spoken language. At least for this reason alone, Hantke's journey to a new theatrical world best reflects the philosophical intent of communication by the original author Hantke to penetrate a world of alienation, loneliness and indifference in the human race.

아리스토텔레스 시학 에 근거한 모방론의 전형 고찰

류재국 한국문화융합학회 2022 문화와 융합 Vol.44 No.4

The aim of this thesis is to examine the typical features of mimetic theory based on Aristotle’s Poetica. It has been known that the mimetic theory in Poetica was referred to a structural principle expressing the relation between the imitating and the imitated. In order to reexamine the mimetic theory more typical meaning than the existing studies, this thesis looks into how their arguments were different by using the interpretation of the mimetic theory asserted by Platon and Aristotle. In order to find how the mimesis applied, this paper looks into Sophocles’ Thebai trilogy which best embodied form of life on the stage and the important meaning of mind in man. As a result, the meaning of mimesis presented by Poetica provided a base for theatrical skill that condenses and systematizes the complex relationship between the stage and reality within the structure of dramatic performance that was most suitable for achieving the goal oriented in plays. In addition, imitation in the play emphasizes the importance of creation, which aims to re-implement the universal truth, not to reproduce individual things. The typical features of mimetic theory suggested by Aristotle in Poetica reaffirmed that it was not an imitation that simply dramatized the actions or conflicts of dramatic events, but brought an interpretation with the perspective of reappearance, expression, and creation.

『구름』 949-1112의 논쟁에 나타난 고대 아테네 교육의 양상 고찰

류재국 한국교육연극학회 2020 교육연극학 Vol.12 No.2

아리스토파네스의 희극 <말벌>에 나타난 풍자와 폭로의 연극적 행동

류재국 국제언어인문학회 2021 인문언어 Vol.23 No.1

Aristophanes' comedy, Wasps, disclosed the court jury’s malicious judgement against powerless citizens at the Athens court in the 5th century BC. Also, the work openly satirized the jury’s faithful commitment to instigaitve power. Wasps accused the corrupt trial system by satire and disclosure and scolded the tyranny of misappropriating the city's tax revenues for the benefit of individuals in power. The theatrical treatment of concepts of satire, revelation, accusation, and derision in the work went beyond imagination and fantasy and encouraged Athenian audiences to cheerfully cultivate the cognitive consciousness of reality criticism. The dramatic action of satire and revelation in this work was a performance that rebuked the wrong practice of corrupt political power while comically narrating an aspect of contemporary trial system. This paper gives a brief look at an aspect of the trial system conceived in the addiction of power and Aristophanes’ theatrical ways of resisting the tyranny of corrupt political power by textual analysis.

각종 조직 활동과 놀이문화의 인간관계 연구

류재국 경상대학교 경영행정대학원 1999 最高管理者課程論文集 Vol.15 No.-

박의섭의 방송동극에 전개된 전래동화의 수용 의미 - “의리 잇는 호랑이”와 “여우의 재채기”를 중심으로 -

류재국 한국문화융합학회 2023 문화와 융합 Vol.45 No.1

Park U-seop pioneered the radio drama genre and continued his fairy tale work for five years from 1937 to 1941. Especially this paper analyzes to find the meaning of accepting traditional fairy tale with Park’s passionate two radio dramas, "Loyal Tiger and "Sneeze of a Fox" in 1938. In the two works, Park U-seop used his unique storytelling and expression techniques, and aimed for an allegorical method to effectively capture moral and ethical lessons. To find out the method, this paper focuses on acceptance of moral and didactic messages of fables. The two fairy tale dramas contain various areas of life in human history and the psychological prototype of the people. In addition, it reveals that the virtues of lessons based on reconciliation, forgiveness, and faith were implied in the works.

신들의 희극적 변용으로 나타난 연극적 행동 -아리스토파네스의 '개구리'를 중심으로

류재국 한국드라마학회 2019 드라마연구 Vol.0 No.57

"Frogs" by Aristophanes is a dramatic action in which he harshly criticized and accused those who used the war to enjoy power and wealth by sending messages of anti-war and peace during the Peloponnesian War between Athens and Sparta. He suggests a solution to overcome the devastated realities of the community by transforming the mythology. He challenged a new theatrical form that transformed the revered mythical figures humorously, triggering political and social reforms on human life. His relentless criticism and creative way to sharply criticize the reality attracted the audience to the theater to bring up the problems of community in a satirical and moral context as dramatic action. The transformation of the gods in "Frogs" is casting the implied message of a frog that does not lose consciousness into dramatical action to the Athenians with the power of comedy. The play dramatically describes the debate between Euripides who support life in the community (the progressives) and Aeschylos, who support ritual traditions (the conservatives). These tragic poets had much interest in real politics as they were teachers of the people, but the reason of bringing them to the forefront of the play was to deliver the moral significance in politics, not the real politic itself. Aristophanes tried to hurt real politics by ridiculously transforming the dignity of gods, such as Dionysus and Hercules. Aristophanes' message in "Frogs" is a political poem as a comedic device to heal the fragile reality. In other words, mythology and play are combined for a complete convergence of reality and ideals. The dramatic action shown in the "Frogs" is a starting point for literary reflection as well as a political message that appears to be a comic transformation of traditional figures from mythology, as Aristophanes could not overlook the lamentability of reality. <개구리>는 아테네와 스파르타 사이에 펠로폰네소스 전쟁이 한창이던 때에 반전과 평화의 메시지를 던지면서 전쟁을 이용해 권력과 부를 누리던 세력을 통렬하게 비판하고 고발한 희극작품이다. 아리스토파네스는 공동체의 피폐한 현실을 극복해보려는 해결책을 신화의 변용으로 제시한다. 그것은 당시 존경의 대상이던 신화의 인물들을 희극적으로 변용시켜 인간적 삶에 대한 정치, 사회의 개혁을 촉발하는 용기 있는 도전이었다. 아리스토파네스의 거침없는 비판과 창의적 모색은 풍자적이고, 교훈적인 맥락에서 아테네 공동체 현실의 문제의식을 극적 행위로 제기하고자 관객들을 극장으로 끌어들인다. <개구리>에 나타난 신들의 희극적 변용은 희극의 자극적인 힘과 의식수준을 잃지 않는 개구리의 함축된 메시지를 아테네 대중들에게 연극적 행동으로 던져주고 있다. 즉 공동체의 삶(진보)을 지지하는 에우리피데스와 의식적인 전통(보수)을 지지하는 아이스킬로스의 논쟁을 극적으로 묘사하였다. 이들 비극시인은 국민의 교사였던 만큼 현실정치에 대해 관심이 많았지만, 그들을 전면에 투영하여 심판하는 것은 희극적으로 변용된 신들의 몫이었다. 아리스토파네스는 작품 속에서 디오니소스와 헤라클레스 같은 신들의 위용을 우습게 변용하여 현실정치에 부상을 입히고자 하였다. 아리스토파네스가 <개구리>에서 던지는 메시지는 희극적 장치로써 박약한 현실을 치유하기 위하여 신들을 활용한 정치적 시가이다. 현실과 이상의 완전한 융합을 위해 신화의 인물과 연극적 행동이 결합한 것이다. <개구리>의 연극적 행동은 아리스토파네스가 현실의 개탄스러움을 간과할 수 없어 전통적 신화의 인물에 희극적 변용으로 나타난 메시지이자 문학적 성찰의 출발점이다.

고대 그리스 희극의 두 여주인공이 추구한 연극적 행동과 정치적 시가로서의 의미 - 뤼시스트라테와 여인들의 민회를 중심으로

류재국 한국브레히트학회 2019 브레히트와 현대연극 Vol.0 No.40

Focusing on Lysistrata and Assemblywomen, this paper investigates how the dramatic action is reshaped as political poetry. In addition, it reveals the writer’s philosophy and a commitment of the two works as political poets in the Athens war crisis by examining dramatic action pursued by two female protagonists, Lysistrata and Praxagora. Aristophanes publicly criticizes the government’s political line, turning his comedies into poltiical poetry to reform the society. Through the two female protagonists, Lysistrata and Assemblywomen criticizes the historical past and present and confront the rigidity of a male-dominated society Lysistrata creates audience’s laughter by comically treating a man-and-woman confrontation, reflections on women’s values from male oppression, and overthrowing the gender role. Lysistrata is a self-centered woman who threw herself to solve the gender concept of femininity in the ancient Greek patriarchal system with a new way of gender equality. Assemblywomen focuses on the critical view of Utopia, which translates into a view of social changes. In this work, Utopia is frustrated by human inequality, selfishness, and other errors and weaknesses, and human imperfections. The meaning of dramatic actions through the two heroines is to lead changes in the critical paradigm of literature by bravely trying to make a verbal satire that can convey the problems of the destitute reality. The commonality of humor between the two works is that the audience gets a sense of freedom from the frustration of a repressive and authoritative society. And it provides a healthy laughter by expressing the humble nature of wrapping imperfect human as perfect in satire and humor.

슈니츨러의 「의화단 운동」에 나타난 이중성 문제 -테아터라움 철학하는 몸의 <낯선 사람>의 예에서

류재국 한국브레히트학회 2019 브레히트와 현대연극 Vol.0 No.41

Stranger reinterprets the historical symbolism of Schnitzler’s unfinished novel, Boxeraufstand, from contemporary viewpoints. This work projects real and fictional characters into historical events, and actively reflects the dual psychological structure of those characters in the narrative. Stranger describes the conqueror’s psychology of trying to hide or not wanting to reveal the sins that everyone acknowledges. This is an exchange of familiarity with strangers. Ulrich the conqueror and Chen Shao-bo the revolutionist, two people familiar with each other in history, give the audience an unfamiliar experience through a debate of truth and lies. The unfamiliar experience appears by breaking the existing boundary between good and evil. The original novel of Stranger is a four-page unfinished novel by Schnitzler. Stranger is the play that expresses the remorse for the painful and tough violence of Boxeraufstand and the longing for the truth that cannot be given up with duality. That is ‘self-deception’ that one finds out through duality of Stranger. If a conqueror takes off the mask of ‘self-deception’, he falls into shame in front of the truth and leads to social death. This play seeks not to see the humble end of the conqueror’s life, but his sincere repentance. Stranger makes a significant statement about the reality and fiction of the conqueror and revolutionary character, which is everyday life of violence and revolutionary story in society that is likely to happen at anytime. <낯선 사람>은 슈니츨러의 미완성 소설 의화단운동의 역사적 상징성을 오늘날의 이야기와 동시대적 관점으로 재해석한다. 이 작품은 실제와 허구의 인물을 역사적 사건에 투영하고, 그 인물들의 이중적 심리 구도를 서사에 적극적으로 반영한다. <낯선 사람>은 모든 사람이 인정하는 죄를 드러내고 싶지 않거나 숨기려는 정복자의 심리를 묘사한다. 그것은 낯선 것과 익숙함의 교환이다. 역사 속에서 서로에게 익숙한 두 사람, 정복자 울리히와 혁명가 천샤오보는진실과 거짓의 논쟁을 통해 관객에게 낯선 경험을 안긴다. 그 낯선 경험은 기존의 선과 악의경계를 무너뜨리면서 우리 앞에 나타난다. <낯선 사람>의 원작은 슈니츨러의 4쪽짜리 미완성 소설이다. <낯선 사람>은 아프고 힘들었던 의화단 폭력에 대한 회한과 포기할 수 없는 진실의 간절함을 이중성으로 풀어낸 연극이다. 결국 낯선 사람의 이중성을 통하여 확인하게 되는 것은 ‘자기기만’이다. 만일 정복자가 자기기만의 가면을 벗게 된다면, 진실 앞에서 수치심에 빠지게 되고 사회적 죽음에 이르게 된다. 이 연극이 추구하는 것은 정복자의 보잘것없는 생의 마감을 보는 것이 아니라 그의 진실된 뉘우침이다. <낯선 사람>은 정복자와 혁명가라는 인물의 실제성과 허구성에 대하여 이는언제든지 일어날 가능성이 있는 우리 사회의 폭력의 일상과 혁명의 이야기임을 의미심장하게밝히고 있다.

희극 드라마에 묘사된 성 역할의 전도에 담긴 함의 : 조일제의 병자삼인 과 아리스토파네스의 여인들의 민회 를 중심으로

류재국 국제언어인문학회 2020 인문언어 Vol.22 No.2

Three Sick People was a non-sense comedy that dramatically described an aspect of growth of women’s rights which had been appeared in the time of enlightenment of modern Korea. Assemblywomen was an ancient Greek comedy written in 392 B.C. and it was about women took over the Assembly, the exclusive property of patriarchal social men at the time. In Three Sick People, it was ridiculously described that men concerned about the growth of women's rights even though living in the patriarchal family and society. In Assemblywomen, it was a little far-fetched but women were portrayed as discontinuing their dependence on men and taken a lead in the family and national crisis. A common feature of these works is to require women’s social and political participation by reversing gender roles based on the gender equality. The women’s participating actions were used with the privilege of satire, which is a characteristic of comedy, to speak out complains about oppressive and patriarchal society. In spite of that, the works ended up as just giving a new recognition on the gender equality and an tolerant attitude of men and women living together. The implication of the works is to show a comic will to correct the rigid nature of social authority, which wrapped up imperfect human perfection, with humorous satire and healthy laughter.