O'Neill 의 가면극 , The Great God Brown : 안과 밖의 개성화 과정 The Process of Individuation of Inner and Outer Selves = O'Neill's Mask Drama , the Great God Brown

다국어 초록 (Multilingual Abstract)

The purpose of this essay is to state the process of individuation which is represented in O'Neill's mask drama, The Great God Brown.
The Great God Brown became famous for its daring use of masks to suggest the conflicting personalities of each of its characters. Earlier, The Hairy Ape had painted on masks to emphasize the artificial 'faces' of people in 'Society.' And later Lazarus laughed used formal masks to define type characters. But in The Great God Brnwn all the characters used masks to dramatize the contrast between their external, or public selves, and their inner, or private selves. And this new use of masks suggested psychological complexities beyond the scope of the old, realistic drama.
O'Neill was interested, as usual, in inner tensions and the drama of the soul, and it was to this end that he invented the use of masks to accentuate conflicts and changes in individuals and, in the last part of the play, to visualize a transfer of personality from one character to another.
There are many Nietzschean interpretations and Jungian interpretations of this play. O'Neill himself considered Nietzsche's The Birth of Tragedy the most stimulating book on drama ever written. And O'Neill's preference for Jung is well known since he not only has said as much but also included Jungian concepts in the structure of his plays. $quot;There are clear indications that material for The Great God Brown may have been drawn from The Psychology of the Unconscious and Psychological Types, two major works of Jung available to him.
The Great God Brown embodies a 'Mystery' in the philosophic or religious sense of the word, shadowing forth what Nietzsche described in The Birth of Tragedy as 'the mystery doctrine of tragedy. the fundamental knowledge of the oneness of everything existent, the conception of individuation as the primal cause of evil, and of art as the joyous hope that the spell of individuation may be broken in argury of a restored oneness. Brown's dying words may best be described only as an esoteric parable of Dionysian wisdom: 'The laughter of Heaven sows earth with a rain of tears, and out of Earth's transfigured birth-pain the laughter of Man returns to bless and play again in innumerable dancing gales of flame upon the knees of God!'.