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- 저자 : 변형택 ( Hyung Taek Byun ) (검색결과 4 건)
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변형택 ( Hyung Taek Byun ) 21세기영어영문학회 2013 영어영문학21 Vol.26 No.1
This study examines how metadramatic traditions are revived in the works of Samuel Beckett and Lee Yen Taek two modem dramatists representing English and Koran literature. Beckett`s Waiting for Godot explores the fundamental role of stage, actors and audience through metadramatic features, eventually invalidating the boundary between stage and auditorium. In Citizen K and Oku, Lee Yen Taek also makes significant use of metadraramatic devices such as play-within-a-play as well as co-existence of stage and auditorium. In order to gain these effects, he especially deconstructs and reconstructs gut, a traditional Korean ritual in which life and death interacts. In this respect, the two dramatists, transcending the space and tune of their activities, successfully achieve the reconstruction of the inherent dramatic tradition and extend literary horizon, thus satisfying the metadramatic premise that life is a dream and that the world is a stage.
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메타양식으로서의 드라마와 미술: 사무엘 베켓의 극과 벨라스케스의 그림을 중심으로
변형택(Byun, Hyung-taek) 새한영어영문학회 2021 새한영어영문학 Vol.63 No.4
This thesis examines how meta-modes can be commonly applied to drama and painting, especially in the works of Samuel Beckett and Velázquez. Several essential meta-dramatic or meta-artistic qualities are summed up as theatrum mundi, play-within-play (painting-within-painting), self-reflexivity, and mise-en-abyme. In Beckett’s Waiting for Godot and Endgame, the structure of the play reflects the play itself, its protagonists sing a song or tell a story that repeats endlessly, and the act of waiting or story-telling reminds the audience of the process how a play itself is made, all of which serve as successful meta-dramatic effects. These meta-dramatic approaches are proven as very effective keys to analyzing the paintings of Velázquez. The baroque artist utilizes a mirror as mise-en-abyme and intertextuality to strengthen his theme in “Venus at Her Mirror” and in “The Spinners”, finally completing his meta-artistic premise, theatrum mundi in “Las Leminas.”
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조지 버나드 쇼, 김우진 그리고 한국의 근대극: 메타드라마적 접근
변형택(Byun, Hyung-taek) 새한영어영문학회 2020 새한영어영문학 Vol.62 No.2
This study aims to examine how the dramatic works of G. B. Shaw and Kim Woo-jin, two contemporary playwrights representing England and Korea in the 1920s, are related in metadramatic terms. For this purpose, some core theories on metadrama by Richard Hornby and John Fletcher are applied to their works: Shaw’s Pygmalion and Fanny’s First Play, and Kim’s Wild Boar and The Illusion of a Ragged Poet. Shaw’s Fanny’s First Play and Kim’s Wild Boar are analyzed in the metadramatic strategy of play-within-a play, and the other two dramatic texts in terms of metadramatic role-playing. In this process, it is made clear that, both the two dramatists made very effective use of metadramatic genre as early as in the 1920s. Furthermore, it is concluded, in brief, that the two dramatic forerunners of the modern stage successfully embodied the metadramatic premise, ‘theatrum mundi’ in their plays through these essential strategies.
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변형택(Byun, Hyung Taek) 새한영어영문학회 2016 새한영어영문학 Vol.58 No.1
Contrary to the common belief that Lady Gregory and Synge were literary comrades dedicated to the Irish Renaissance, a few recent significant studies suggest the relationship between the two dramatists involved strain and competitiveness from the start. Lady Gregory, conscious of Synge’s expertise in the culture of the Aran Islands, must have found some form of potential rivalry with him in writings on the islands. Her lifelong possessive literary focus on Yeats continued to remain a key limiting elements in her relationship with Synge. Nonetheless, many literary and dramatic connections between Synge’s plays and Lady Gregory’s from 1902 onwards reflect complex cross-influences and elliptically-expressed rivalries between the two writers. In addition, both of them made use of a disturber figure with superior power of imagination and language, who challenges the everyday materialist concerns of the inhabitants, thereby bringing them to a moment of crisis or revelation. While Gregory’s artist-disturber figure generates the hope of concord rather than loss and political rupture, Synge’s heroes serve to reveal unpleasant fundamental truths. Her lifelong feelings and judgement of Synge show the mixture of admiration and distaste at her heart. This ambivalent attitude derived from her partiality for Yeats, but it also drove her to firmly support Synge’s literary achievements.
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