이원론의 해체 - 이윤택의 2005년 〈햄릿〉

다국어 초록 (Multilingual Abstract)

The purpose of this paper is to examine the de-construction of dualism in Lee, Yuntak's 〈Hamlet〉 in terms of its inter-culturalism, its use of space and its presentation of some seemingly indissoluble issues of life and death. The de-construction of dualism is characterized by its multiple focal points, collage, pastiche, greater emphasis on images than languages. Lee's 〈Hamlet〉 is de-constructing in that it goes toward more wholistic view of the world by showing multiple focal points.
Lee's 〈Hamlet〉 is practising the amalgamation of two different cultures, the Korean and the Western. Therefore what happens on the stage represents this inter-cultural aspect. The mix brings about the hybrid quality on the stage. The inter-cultural aspect of the performance is in its use of pre-expressivity with the appearance of the dead father of Hamlet. Pre-expressivity is a concept related to the extra-daily techniques of actors. Actors using the techniques have to present believable actions, which means that the actions of the actors are well understood to the audiences of the two different cultures. And Lee's 〈Hamlet〉 generally succeeds in making the performance believable to the audience, so that 〈Hamlet〉 may be called an inter-cultural performance.
Lee's 〈Hamlet〉's most important use of space is that he takes the Korean way of using space and mixes it with the western way of using space by making the stage circular. Basically, this shows the Korean style of space within the western style of space. Furthermore, Lee's 〈Hamlet〉 often uses four-levels, or three levels of space. By doing so, the performance succeeds in offering the simultaneous and multiple experiences to the audience at the same time. Therefore, the audience can achieve a wider perspective and obtain a quick shift of tension and relaxation at the same time.
The stage successfully expresses the invisible in a very unique and original way. The invisible is the ghost. By dancing the Korean traditional dance, the ghost represents the abstract and spiritual world as well as the concrete world. The presence of the ghost represents his belonging to the dead world, while at the same time he communicates with the living person, Hamlet. So that, finally, the eternal world and the everyday world become one and the split of these two worlds, life and death is overcome.

목차 (Table of Contents)

• Ⅰ. 들어가는 말
• Ⅱ. 문화상호주의적 무대
• Ⅲ. 공간의 사용에서 이원성의 극복
• Ⅳ. 삶과 죽음의 이원론의 극복-비가시성의 가시화
• Ⅴ. 나가는 글
• 인용문헌
• Abstract