Socializing the Church of England to the Rules of the Marketplace

Han, Younglim(한영림) 한국현대영미드라마학회 2002 현대영미드라마 Vol.15 No.1

<위대한 비밀>로 재구성된 셰익스피어 저자론

한영림(Younglim Han) 한국셰익스피어학회 2013 셰익스피어 비평 Vol.49 No.3

Roland Emmerich’s Anonymous(2011) questions whether Shakespeare wrote the works attributed to him, and proposes Edward de Vere, 17th Earl of Oxford as the real author. Emmerich’s film is in line with the Oxfordian theory that was first advanced by J. Thomas Looney in his “Shakespeare” Identified in Edward de Vere, the Seventeenth Earl of Oxford” in 1920. It is representative of the current tendency in which the question of Shakespeare authorship has been to the fore. Emmerich characterizes his film as an historical thriller whose story tells how Shakespeare came not to be the author of his plays in conjunction with who would succeed Queen Elizabeth and what was the cause of the Essex Rebellion. This paper discusses this historical thriller in terms of how Shakespeare became an author of those plays he did not write, and why the Earl of Oxford gave up on his legitimate claim to be an author. The discussion observes that it deconstructs the authenticity of Shakespeare authorship by a means of a ‘play within a film’ structure, and that this structure places an emphasis on the relationship between Ben Jonson and the publication of the First Folio in 1623, and on the true intention of Jonson’s words “Soule of the Age.” Then this paper concludes that an account of the authorship question displayed in Anonymous should be seen as one Shakespearean theory among others which have reinforced a legacy of his authority.

〈햄릿-디 액터〉의 햄릿 이야기 연출하기

한영림(Younglim Han) 한국셰익스피어학회 2014 셰익스피어 비평 Vol.50 No.2

MJCompany’s production of Hamlet The Actor, the three actor version of Hamlet, was first staged in 2012 and won ‘the 1st Korea Shakespeare Awards’ for Best Young Director and Best Actress. The production was restaged with a new cast in 2013 and attracted the attentions of international Shakespearean scholars in particular, who were invited to attend the International Shakespeare Conference organized by the Shakespeare Association of Korea, delighted with this production as an eye-opener to them, and convinced that Hamlet can be adapted to a purely theatrical play without involving cultural concerns and political arguments. Hamlet The Actor portrays Hamlet as a player-director, rehearsing with two players his own play on revenge to overcome the state of dissociation and witnessing instead the disastrous effects his revenge might have on his beloved Ophelia. Directing the Hamlet story becomes not about whether to kill Claudius or not, but about whether to continue a rehearsal or not. The play’s adaptive strategy is the making of a classical work, that is, the collaboration between Hamlet and two players; it is characteristic of what distinguishes itself from a metadramatic device. Hamlet relies on the rehearsal process for the realization of his intentions and expects two players to make a creative contribution. Their collaborative work is characterized as a dynamic process of reshaping a classical work by means of stage production. The play’s circular and open-ended structure facilitates the dynamic process and stimulates the audience’s imagination to fill gaps in the story.

햄릿과 히말라야 왕자

한영림(Younglim Han) 한국셰익스피어학회 2012 셰익스피어 비평 Vol.48 No.3

Sherwood Hu’s adapted film of Hamlet, Prince of the Himalayas, is the first Shakespearean movie that is set in ancient Tibet, filmed in the high altitudes of the Himalayas, and performed in the Tibetan language by Tibetan actors. Hu does not intend to imply contemporary political relevance to the conflict between China and Tibet, but to present his adaptation as more a story about revenge than a revenge story. Lhamoklodan, the Prince of the Himalayas, has much to do with love, reconciliation and life, whereas Hamlet with hatred, revenge and death. Hu’s adaptation starts from where Shakespeare made his creative appropriation of the original, and differs at certain points from Shakespeare’s story: the confrontation between the Ghost and Wolf-Woman, the relationships between Nanm (Gertrude) and Kulo-ngam (Claudius), between Lhamoklodan (Hamlet) and Odsaluyang (Ophelia), and between Lhamoklodan and the Ghost, the procedure of a duel between Lhamoklodan and Lessar (Laertes), the royal friendship between Lhamoklodan and Princess Ajisuji of Subi (Fortinbras). Hu tries to solve his own problem of understanding the idea of Hamlet’s mother wedding his uncle only two weeks after her husband’s death, borrows a story of their love from John Updike’s Gertrude and Claudius, and takes the matter further by featuring Kulo-ngam as Lhamoklodan’s real father and enabling him break ties with his obsession with revenge. Hu’s movie ends with the death of the royal family, but followed by the birth of a new life, the son of Lhamoklodan and Odsaluyang, the next king of Jiabo.

18세기 셰익스피어 : 영국 국가영웅 이미지

한영림(Younglim Han) 한국셰익스피어학회 2007 셰익스피어 비평 Vol.43 No.1

This paper explores three interconnected representations of Shakespeare in the eighteenth century: the Westminster Abbey statue of Shakespeare erected in 1741, David Garrick's Jubilee held in 1769, and John Boydell's Shakespeare Gallery founded in 1789. Shakespeare's statue had much to do with the advancement of Garrick's self-image in the Jubilee; Boydell employed Shakespeare as subject for history painting that was the most sublime of artistic genres. They were in line with the representation of Shakespeare in the history of his promotion as symbol of British national identity. They gave Shakespeare his cultural prominence in the period, mediating him to the public by the means of his images such as statues and portraits. The widespread popularity of images of Shakespeare became a part of the cultural and commercial activities of nationalism. The embodiment of Shakespeare as a national hero was bound up with the force of commercial, cultural and national endeavours. Also the paper observes that the eighteenth century tradition of worshiping Shakespeare's genius is kept in the current annual event of Shakespeare Birthday Celebrations held in Stratford-upon-Avon every April. Such aspects of the Jubilee as public orations and street procession of Shakespearean characters retain some influence over the anniversary of Shakespeare's birth and death: the Procession, the unfurling of the flags, and laying of floral tributes at his grave in Holy Trinity Church. This association demonstrates that the recognitions of Shakespeare as Britain's foremost pride and his home town as a site of pilgrimage are still intact even in the age of going towards globalization and multiculralism.

〈맥베스〉 영화와 로케이션

한영림(Younglim Han) 한국셰익스피어학회 2016 셰익스피어 비평 Vol.52 No.2

Macbeth is characterized as Shakespeare’s Scottish tragedy because it is the only play that is entirely set in Scotland, and as his most Jacobean play because it is the play that most clearly reflects the relation between Banquo as the Stuarts ancestor and James I as his descendant. The personal tragedy of Macbeth is framed within Scottish national and political issues. His mind is bound up with the notion of kingship and power, which resonates with Jacobean matters. In this context Macbeth films take interest in how to present the identity of Scotland on screen, and revisit the Scottish past in locational terms. They offer a wide range of interpretations of the dramatic realities of the times, and reimaginings of what wartime must have been like in the medieval era of Scotland. They create the world of Macbeth’s Scotland through the visual and aural representations of conceptually constructed places. This paper discusses the ways in which Macbeth films approach to their locations defining the relations between the real and the imagined place, and between the physical and conceptual place. Discussions are centred on Justin Kurzel’s Macbeth in 2015 by comparison with Orson Welles’ in 1948, Roman Polanski’s in 1971, and Jeremy Freeston’s in 1997. On theses films Scotland is historically, culturally, and literally invoked in the way which deepens and complicates variations on the themes of the play. In conclusion, film locations offer the means of transforming Shakespeare’s Scottish tragedy into directors’ Scottish films.

맥베스와 자식의 부재: 〈맥베스〉 영화를 중심으로

한영림(Younglim Han) 한국셰익스피어학회 2020 셰익스피어 비평 Vol.56 No.3

The question ‘How Many Children Had Lady Macbeth?”, raised by L. C. Knights in 1932, was intended not to offer an answer but to express an opinion. It was demonstrative of the dismissal of reading Shakespeare as a creator of living characters and the necessity of reading Shakespeare plays as dramatic poems. The question worked as a pointer, thereby drawing attention to the significance of children in Macbeth. Along with Knights, A. C. Bradley and Cleanth Brooks measured the potential meanings of the play in accordance with the recurring images of children. Though the three critics left this question unanswered in the first part of the twentieth century. This paper points out that the answer to Knights’s question is provided by the film versions of the play in the early twenty-first century: Macbeth and Lady Macbeth are a childless couple. Illustrative cases are Mark Brozel’s Macbeth in 2005 and Justin Kurzel’s in 2015. Brozel and Kurzel portray the Macbeths as parents who lost a baby son. The grief for their lost child brings with it their corresponding capacity for power and to forward their ambition for the future. But they fail to find out how to go beyond the challenges of what was done in the past. As they build on the future, they destroy their friends’ homes by making them childless or their children fatherless. Brozel’s film and Kurzel’s end with the appearances of Duncan’s son and Banquo’s, thereby foretelling a future conflict between them, that is, a repetition of an unexpected twist of fate that the Macbeths have faced up to. Both films make childlessness a central theme and convey a sense of why this thing happens rather than what happens.

Othello : Anxiety over Outsiders

Younglim Han(한영림) 한국셰익스피어학회 2003 셰익스피어 비평 Vol.39 No.3

1590년대 초반 『타이터스 안드로니커스』에서 무어인 아론을 악인으로 묘사한 후 10년 뒤 셰익스피어는 전쟁 영웅 무어인 오셀로를 비극적 주인공으로 그려냄으로써 검은 피부색의 인종을 죄, 악, 죽음 등으로 연관시키는 고전 전통에서 벗어나는 시도를 하였다. 왜 셰익스피어는 종교적, 인종적 타자 무어인을 악인으로 표현하는 연극적 관례를 깨고 오셀로를 비극적 주인공으로 설정하면서 『베니스의 무어인』이라는 특정 인종과 지역을 지정하는 제목을 사용하였는가? 본 논문은 이슬람교에서 기독교로 개종한 무어인 오셀로가 기독교 사회인 베니스에 소속되려고 하는 연극적 상황을 통해 셰익스피어가 시사, 제시하고자 했던 당시의 인종 및 개종의 문제에 초점을 두고자 한다. 이 논의는 개종으로 인해 국외자와 국내자의 구분이 모호해지는 것에 대한 사회, 문화적 불안감, 그리고 가톨릭 국가인 스페인을 통일하게 적대시하는 프로테스탄트 영국과 이슬람 오토만 제국간의 정치, 외교, 무역통상 관계 등 시대적 상황이 기독교인이면서도 인종적 타자로 주변인이 되어야하는 오셀로 인물 설정에 배경이 되었을 것이라는 전제에서 출발한다. 본 논문은 기독교로 개종한 오셀로가 다시 본래의 이슬람교도로 돌아가게 되는 정체성 붕괴의 과정을 두개의 측면에서 살펴보고자 한다. 첫째, 오셀로가 베니스 사회에 정착할 수 있는 결정적인 계기가 되는 것은 데스데모나와의 결혼이다. 이야고가 오셀로를 파멸로 몰고 가기 위해 데스데모나의 성적 부정행위에 대해 계략을 꾸미는 것은 이 결혼의 중요성을 역으로 이용하는 것이 된다. 이는 개종 문제가 항시 여성의 성 문제와 결부되어있음을 제시해준다. 둘째, 개종에 대한 사회, 문화적 불안감은 오히려 기독교와 이슬람간의 경계선을 부각시킨다는 점이다. 오셀로가 자신이 그토록 신임한 부하인 기독교 베니스 시민에 의해 이슬람교도로 다시 돌아가는 것은 기독교와 이슬람교 두개의 지배적인 문화의 경계선을 극복하지 못하고 제3자로 존재할 수밖에 없는 개종자의 강박관념에서 유래하고 있음을 시사해주고 있다. 고귀한 정신의 전쟁 영웅 무어인의 이미지는 엘리자베스 시대 관객의 고정 관념에 대해 반전의 효과를 거두었을 것이다. 한편으로는 기독교인 이야고에 의해 오셀로가 기독교 정체성을 상실하는 것은 개종자를 수용하지 못하는 당시의 인종적 편견을 반영한다고 볼 수 있다. 셰익스피어는 오셀로의 인물 설정을 통해 엘리자베스 시대의 국외자에 대한 불안감과 고정 관념을 확인하면서 동시에 이에 도전하는 효과를 주고자 한 것이다.

21세기 셰익스피어 원저자론 논쟁

한영림(Younglim Han) 한국셰익스피어학회 2010 셰익스피어 비평 Vol.46 No.2

The controversy over the authorship of Shakespeare continues as vital as ever in the twenty-first century, with more people interested in the question. In 2007 it reaches the pinnacle of popular as well as academic achievements: the establishment of the Shakespeare Authorship Coalition, the Declaration of Reasonable Doubt About the Identity of William Shakespeare, and the new MA programme Shakespeare Authorship Studies, the first of its kind in the world, at Brunel University. This trend is towards the declaration that the identity of Shakespeare should be accepted as a legitimate topic for instruction and research in academia. This paper is takes an orthodox approach to the authorship question. Therefore it intends not to give an account of who are the various alternative candidates that have been put forward over the years, but of when and how the authorship debate was necessitated by the needs of a specific critical and theoretical circumstance. The discussion is composed of five chapters. The first and the second give a survey of how people began to question whether or not Shakespeare wrote the works of Shakespeare, establishing their own theories as authorship doubters. The third is focused on the development of the authorship debate in the first decade of the twenty-first century: it has been influenced by the Shakespearean criticism of the late twentieth century and early twenty-first century; it has reached its zenith in 2009, celebrating the 400th anniversary of the first publication of Shakespeare’s Sonnets, the 400th anniversary of the King’s Men’s occupation of their Blackfriars Playhouse, and the 300th anniversary of the publication of the first formal biography of Shakespeare. The fourth exemplifies Hank Whittemore’s The Monument as an example of deciphering the codes implanted in the text through archival research. The fifth concludes the paradox is that the Shakespeare authorship question proves his greatness: Shakespeare is subject to scrutiny and speculation, because he is the best of the writers for all time.

셰익스피어 무대와 스크린 경계 넘기

한영림(Younglim Han) 한국셰익스피어학회 2015 셰익스피어 비평 Vol.51 No.2

This paper gives accounts of the beginning of the relationship between Shakespeare stage and screen in the context of history, and of NT Live as an innovative programme of using satellite technology to broadcast real-time footage of stage performances to screens of cinemas around the world, then of the Donma Warehouse production of Coriolanus as an example of open dialogue crossing boundaries between performances on theatre stage and on cinema screen. NT Live programme has solved a long-standing problem that there is not enough cinema in the theatre, while that there is not enough theatre in the cinema. Its success has brought celebrities to perform a Shakespeare character, and Tom Hiddleston is an exemplary case, who is widely known for his role as Loki in the Thor and Avengers series. His Coriolanus becomes a Coriolanus who contends with looking like Hiddleston-Loki, and adopts the coping mechanism to do with his character. The production’s publicity is dominated by a photograph of Hiddleston as Coriolanus, thereby what the production reveals consistently is the Hiddleston-Loki-Coriolanus association. This association, however, does not make Shakespeare subservient to the star actor’s fame, but stimulates the latter to use his glamour to illuminate the former: what makes the actor popular is Shakespeare’s popularity. It offers a new kind of interpretation, that is, a customized production in accordance with a certain form of popular culture appealing to the audience’s needs and desires.