E . 고든 크레이그 연구 - 공간구성으로서의 무대연출에 대하여 = The theatrical Aesthetics of Edward G. Craig : Stage Directing as Space Design

다국어 초록 (Multilingual Abstract)

By the beginning of the century E. G. Craig was regarded as one of the greatest innovators in theatre. His contribution to the modern mise en scene is indisputable, and his concept of the director`s role in the theatre has aroused passionate responses. His actual achievements have become obscured in the arguments, but a knowledge of his work is vital to understanding the way twentieth-century avant-garde theatre has developed. This study makes a survey of the available documents on Craig`s concept of directing as space-design, as visual construction of stage. These allows to reevaluate Craig`s significance as director. Craig aspired to build a scene by means of drawing-a scene where magic and symbol (as visible essence of the theatre) merge. So his work can`t be taken to be merely a superficial scenic reform in which suggestive simplicity covered with a veil of light or darkness the clumsy literalism of the naturalists` tasteless parlour. And his attempts in stylized stage-design were only improvements-inspired by English Symbolism-on W. Nicholson`s style. Craig leamed new media and techniques of artistic expression and new ways of looking at the theatre. Craig considered the stage a metaphor, made up of the organized interaction of visual elements. Defining the stage as the visible sign of an idea, he claimed that scene design is the very essence of the theatre. the result was that he took-instead of realistic settings-the huge curtains and brought them to light in full size, and using a cyclorama on an almost bare stage, he achieved an impression of vast space, impossible to do by cluttering the stage and using lower curtains. In fact, he applied to the stage the teachings of the Symbolist and Impressionist painters, treating the stage as pure material and exploiting its specific properties. This is also how he treated light, using it to paint the settings, to indicate time, and to create mood. the quality that had made scenery dramatic in the eidophusikon was movement, and Craig put this together with his reduction of architecture to its essential elements. So when he began to work out the basis of Scene, his definition was that it shall be of solid form, of three dimensions, and moveable. Throughout this illustrated analysis of Craig`s design work this study relates the influential theatrical theories, such as On the Art of the Theatre and Towards a New Theatre, to Craig`s own production between 1900 and 1912 and his later visionary conceptions.