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Yohangza’s A Midsummer Night’s Dream at Shakespeare’s “Home”
조성관 한국중세근세영문학회 2015 고전·르네상스 영문학 Vol.24 No.2
Yohangza’s A Midsummer Night’s Dream conveniently took elements from both Shakespeare and traditional theatres in order to reinvent their pseudo-traditional form of performance that had previously eleminated those borrowed elements from their original contexts. The director, Yang Jung-ung, almost rewrote his simple non-poetic version of the Shakespeare comedy, which presents a short and funny story of the four lovers and Ajumi, discarding Act Five in the original comedy. Yang created a singular gesture for the performance by strategically assembling elements from various traditional theatres such as Hak dance and talchum. In doing so, Yang attempted to bring forth a namely “theatre of emotion” focused on showing images rather than speech, and he also intended to create a festive atmosphere that led the audience to interact with the actors who constantly traverse into the auditorium and speak to them, a tradition observed in talchum and madanggeuk performance. At the Globe theatre in London 2012, Yohangza succeeded in creating such a spirited atmosphere, probably thanks to the openness of the theatre, in which interaction between the stage and the auditorium has been routine. It was even suggested by Yong Li Lan that the performance created shinmyeong, from her observation that every audience member was highly spirited. At Shakespeare’s “home” only, Yohangza successfully executed the type of performance they had been attempted to achieve.
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조성관 한국셰익스피어학회 2020 셰익스피어 비평 Vol.56 No.2
This article compares Shakespeare’s Globe’s Twelfth Night in 2012 and Trevor Nunn’s film adaptation in 1996 in order to explore Viola’s cross-dressing in light of its gender performance. The production of Shakespeare’s Globe, in which male actors played female roles, might as well have delayed the audience’s perception of Viola’s gender because the part was played by a male actor. The audience were seeing that a man was playing a woman who was also pretending to be a male. When Viola revealed her love for Orsino, her desire must be mediated by Cesario that was enacted by herself. Orsino, then, could feel a homosexual impulse that was caused by Viola’s ambiguous appearance that was expected to be perceived as woman in the theatrical context. Yet, Viola’s feminity had already been contaminated by a masculinity that could not be failed to be perceived. Although the audience were laughing in the scene, they might have been anxious for breaking down of the gender binary because of the enacted masculinity (feminity). Therefore, the production demonstrated a threat to the notion of sexual difference which patriarchal gender order is deeply based upon. Meanwhile, the film version of the comedy (1996) presents a strong Viola played by actress. Although she could even overpower other male characters, she yearned to regain her feminity which was rarely unnoticed by other character. Yet both productions do not present a challenge to the binary category of man and woman Rather, the comic in the film renders the audience to remind the reaffirmation of the binary category. This comparison suggests that the stage such as Shakespeare’s Globe where a division between reality and fiction is often blurred be a right place for conceiving gender fluidity.
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박근형의 『햄릿』: 셰익스피어 공연에 있어서 현재의 문제
조성관 한국셰익스피어학회 2017 셰익스피어 비평 Vol.53 No.4
Seoul Metropolitan Theater’s Hamlet of 2011, directed by Park Geun-hyeong, that triggered public memory of the suicide of ex-president Roh Moo-hyeon. Park seemed to achieve his goal ‘Hamlet for ordinary people’ when he took on the tragedy. Yet, his success was based on the sacrifice of Shakespearean poetry and the complex psychology of the characters. With a clear purpose, Park did not dare to show on stage anything that a Korean audience might not understand or find to be boring. With a familiar pattern taken from Korean melodramas and an incorporation of political implications, the audience would feel that the production was not only the easiest to grasp, but also the most emotionally involving Hamlet. It was also possible that the audience could have become more interested in Korean politics by attending these performances. However, the performance overall seemed to repeat Park’s ilsanggeuk in this production in terms of scenography and characterization. His task to represent a classical tragic hero with a contemporary hint resulted in presenting a sentimental and powerless Hamlet that failed to represent the anxiety and the distress from which contemporary Korean people are suffering. Those sufferings seemed to have derived from cruelty of a Western-imported neoliberalism and collapse of the old family relationships. Indeed, Park’s ilsanggeuk is more capable of presenting the tragic situation of Korean rather than his rendition of Hamlet.
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복수노조 하의 부당노동행위 유형과 개선방안에 관한 연구
조성관 아주대학교 법학연구소 2014 아주법학 Vol.8 No.1
사업(장) 단위에서의 복수노조제도가 시행된지 3년이 되어온다. 정부는 시행 초기에 있었던 많은 우려와 달리 복수노조제도가 현장에 빨리 안착되었다고 평가하고 있지만 아직도 운영상 문제점들이 노출되고 있다. 이에 따라 여러 가지 법제도적인 개선점이 남 아 있지만 무엇보다 복수노조 사업(장)에서 사용자에 의한 부당노동행위가 우려되고 있다. 사용자가 친 기업적인 노동조합의 설립을 지원하거나 특정 노동조합에의 가입 또 는 탈퇴를 유도하기도 하고 인사고과를 통한 특정노조 가입 근로자에 대한 불이익 취 급시도로 노사는 물론이고 노·노 간의 갈등이 있을 수 있다. 이에 본고에서는 각각의 노동조합과 개별교섭을 실시하고 있는 일본과 배타적 교섭 제도를 취하고 있는 미국의 부당노동행위를 살펴보고 우리나라에서 많이 발생하는 부 당노동행위 유형을 중심으로 개선방안을 마련·제시하고자 한다. 이에 대한 논의 순서 는 먼저, 부당노동행위 의의 및 법적 성립요건을 살펴본다(Ⅱ). 이어 일본과 미국에서 발생하는 부당노동행위의 유형을 간략히 살펴보고 그 시사점을 알아본다(Ⅲ). 다음으 로는 우리나라 교섭창구단일화 과정에서 발생하는 주요 부당노동행위 유형을 교섭대표 노조 결정과정별로 살펴보고 그 개선방안을 강구하고자 한다(Ⅳ). 복수노조 제도 하에서 발생하는 부당노동행위의 개선방안으로 먼저, 부당노동행위 에 대한 입증책임 전환·완화가 필요하다. 부당노동행위를 구성하는 사실에 대한 입증 책임은 신청인에게 있지만, 노동위원회는 입증사실의 난이도와 성질, 당사자 사이의 형 평 등을 고려해 구제제도의 취지에 어긋나지 않는 한도 내에서 입증책임의 경감 또는 부 분적인 전환을 인정해야 한다. 둘째, 개별교섭제도에 있어 소수노조가 사용자에게 개별 교섭을 요구하는 경우 조합원 과반수노조가 있는 경우에 한해 과반수노조의 동의를 받 아 개별교섭이 가능하도록 해야 한다. 이는 사용자의 개별교섭 동의권 남용에 따른 반 기업노조 약체화 시도 등을 방지할 수 있다. 셋째, 사업(장) 소속 전체 근로자의 직접·비 밀·무기명 투표 등을 통한 교섭대표노조의 대표권을 강화하는 한편 협약체결이 전체 근 로자들에게 적용되도록 해야 한다. 넷째, 노동조합의 부당노동행위를 제한적으로 규정 하여 개별 조합원에 대한 단결권 침해행위를 방지해야 한다. 다섯째, 복수노조 제도 시 행에 따라 다양하고 은밀하게 나타날 수 있는 부당노동행위 유형에 대응해 노동위원회 의 구제명령을 현장에 맞게 다양화하여 신속하게 대응하여야 한다.
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