이윤택의 『청바지를 입은 파우스트』 극작법 연구 = A Study on Dramaturgy 『Faust on the Blue Jeans』 Lee Youn-taek"s

다국어 초록 (Multilingual Abstract)

The rule of Lee Yun Taek"s playwriting lies in representation and contemporaneity. He insists that a work should be able to serve as text for performance and at the same time to gain the sympathy of contemporaries. For this aim, Lee Yun Taek uses such techniques as disorganization and reorganization. Disorganization and reorganization do not conflict with each other but are complementary concepts which separate and reorganize the elements of a play to make a new work having new significance.
Lee Yun Taek borrowed the format of the "play in a play" in his work『Faust in Blue Jean』in a try to secure Korean contemporaneity by citing the contents of the original in a reduced form. He transformed the spatial and timely background of the original to the Korean version in the 90s, placing focus on critical events of the then times.
The writer even ventured to reconstruct the figures of the original for the purpose of intensifying the dramatic meaning and fun. He didn"t change the names of the figures in the original to Korean ones to heighten the effect of strangeness or "Verfremdungseffekt". Usage of the names that are not well-matched with locality was designed to keep a certain distance from criticism concerning behaviors or awareness of the characters in the play. By typifying the plots of figures and characters of the play, the reality and sociality of the play could be amplified and their action became more predictable.
『Faust in Blue Jean』is an example of Lee Yun Taek"s playwriting technique <Now-Here-We> showing his efforts to detail in the drama the structures of Korean timely situation as well as political and social life by paraphrasing the original『Faust』. The writer pursued significance and fun simultaneously in his recreation of Western classical dramas. It is his unique approach to set himself free from sentimental realism which seeks for cheap and meaningless fun and from immature copycat playwriting which pursues only meaning with no fun.

목차 (Table of Contents)

• Ⅰ. 서론
• Ⅱ. 이윤택의 극작 원칙과 방법
• Ⅲ. 『청바지를 입은 파우스트』의 극작법
• Ⅳ. 결론
• 참고문헌
• Abstract

참고문헌 (Reference)

1 샘 스밀리, "희곡창작의 실제" 평민사 1997

2 김광선, "한국 무대의 <파우스트> 수용 - 이윤택의 <파우스트>공연을중심으로" 4 : 1999

3 요한 볼프강 폰 괴테, "파우스트 1" 민음사 1999

4 이윤택, "청바지를 입은 파우스트"

5 이윤택, "재구축과 해체사이에서의 고뇌" 현대미학사 (4) : 1995

6 김남석, "이윤택 희곡의 해체 양상 연구-청바지를 입은 파우스트를 중심으로" 한국문학이론과비평학회 9 (9): 75-102, 2005

7 김남석, "이윤택 연극의 미학적 사원" 푸른사상 2006

8 이윤택, "이윤택 연극론. 해체와 재구" 도서출판 게릴라 2003

9 빠트리스 파비스, "연극학사전" 현대미학사 1999

10 G. B. 테니슨, "연극원론" 현대미학사 1996

11 이윤택, "브레히트와 현대연극" 6 : 102-, 1998

12 이윤택, "번역과 번안을 진단한다" 45 : 2007

13 벤 싱어, "멜로드라마와 모더니티" 문학동네 2009

14 김남석, "난세를 가로질러 가다" 인간과 연극 2006

15 이원양, "괴테의 『파우스트』 한국공연사" 7 : 1999

16 김미도, "공연대본전집" 225-,

17 정수연, "1990년대 이윤택의 ‘대중극’ 전략 연구" 한국연극학회 (27) : 209-250, 2005