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Tom Stoppard's Indian Ink: Anglo-Indian Paradoxes
박희본 한국영미어문학회 2009 영미어문학 Vol.- No.91
In his 1995 stage play, Indian Ink, Sir Tom Stoppard offers an insightful examination of conflicting yet compassionate Anglo-Indian relations, set against a backdrop of the intertwining artistic and political narratives of 1930s India and those of India and England in the mid-1980s. Boundaries between the fictional and the factual dissolve, as the playwright vacillates between past and present, India and England, and cultural, artistic, and political lenses, focusing on Anglo-Indian paradoxes pertaining to colonial and post-colonial periods in the two countries. Using dovetailing as a dramatic device, Stoppard makes various cultural and artistic references in this play, along with frequent literary allusions to pre-existing Anglo-Indian and English literature. Philosophical and linguistic border-crossing is much in evidence, helping to strengthen the sense of paradox seen in the words of the characters and the setting of their lives. Thus, European and Indian artistic concepts mix freely, enhancing a realistic sense of the inconsistencies and confusions of Anglo-Indian history. Interweaving cross-cultural artistic and political exchanges, Stoppard’s multiple themes of the ethics of Empire, the relationship between art and politics, the nature of love, differences in individual perceptions, and the difficulty of recovering the past, combine to produce an atmosphere of ‘rasa’ (artistic and aesthetic inspiration) for the readers and the audience. This paper explores the ways in which Stoppard uses these themes and allusions to add extra theatrical dimensions to Indian Ink, as he explores the inter-personal and inter-national relationships resulting from assimilated and ambiguously shared cultural, artistic, historical, and political perspectives.
Fooling With the Facts: Revisiting Lillian Hellman’s The Children’s Hour
박희본 한국영미어문학회 2018 영미어문학 Vol.- No.129
This paper reexamines Lillian Hellman’s 1934 play, The Children’s Hour, arguing that the issues it foregrounds, including good/evil, mercy/justice, mistreatment/revenge and lesbianism, can be subsumed by one at the heart of Hellman’s life - her controversial relationship with truth and reality. The study traces ‘the lie’ in The Children’s Hour, showing not only that this focus complements the other issues, but also that it illustrates the playwright’s creative attitude to truth - one that is highly relevant in the current ‘post-truth’ era. This analysis also discusses the appropriation of Shakespeare’s The Merchant of Venice, embedded in The Children’s Hour through the paralleling and layering of the central relationship of Shakespeare’s play. This provides a canonical counterweight to the emotionalism and sentimentality commonly associated with melodrama and offers a stage for the clashing of different webs of belief. These two focuses highlight the playwright’s moral focus and her tendency to merge truth and fantasy on and off the stage.
Drama as Creative Ethnography: Revisiting J. M. Synge’s Riders to the Sea
박희본 한국영미어문학회 2019 영미어문학 Vol.- No.132
Modern reassessment of J. M. Synge’s portrayal of subsistence lifestyles in rural Ireland has proven his vision to be more accurate than that of the nationalists, Gaelic Leaguers and contemporary critics. In this context, Riders to the Sea (1904) is significant in that it gives a voice to a marginalized, unvoiced society, and its female members in particular. This paper revisits this dramatization of a pre-Western community’s struggle against extreme nature, poverty, local gender norms, and loss, cross-reading Synge’s The Aran Islands as the play’s creative ethnographic paratext or pre-text. As a result, Synge emerges as an amateur scientist/artist of the enlightenment type, versed in western literature, objective data collection, and the Gaelic language. His representation of the islanders, along with his use of modern technology, anecdotal evidence, and personal reflection, combines modern and postmodern methods of ethnographic research. The study demonstrates that Riders to the Sea satisfies an ethnographic as well as artistic function, being an effective social, cultural state-of-the-nation play that is universal in its focus on issues of poverty and exclusion.
Textual and Verbal Playfulness in Stoppard’s Travesties: Mise-en-abyme as a Foregrounding Device
박희본 한국현대영미드라마학회 2011 현대영미드라마 Vol.24 No.1
Tom Stoppard’s plays are noteworthy for the manner in which serious ideas are expressed not only through artful language and complex dramatic structures, but also through entertaining stage techniques. This paper examines the playful mode of textual and verbal interweaving in Travesties (1974), awareness of which is as crucial to a balanced appreciation of Stoppard’s dramaturgy as the exploration of debates developed in the play. This study focuses on the varying ways in which Stoppard employs the self-referential, foregrounding device of mise-en-abyme (a memory within a memory, a story within a story, the act of writing within the act of writing, and a-play-within-a play) in order to address a multiplicity of themes and styles in relation to art and politics. It is argued that Stoppard’s playful transposition of ideas and texts illuminates the context-dependent nature of perceptions and the uncertainty of memory, adding a sense of ambiguity and paradox through its infinite regress and suggesting the artificiality of narrative practices, while pointing to the intertextual and interdependent nature of life and literature.