현대 미국 흑인여성극에 나타난 저항의 미학 - 케네디, 샹게, 팍스를 중심으로 -

국문 초록 (Abstract)

본 논문은 60년대 이후 현대 미국의 흑인여성극을 대표하는 세 명의 작가인 케네디와 샹게 그리고 팍스의 작품을 통해 흑인여성극에서 나타나는 자아의 규정과 의식화와 저항의 방식에 대해 논하고 있다.

다국어 초록 (Multilingual Abstract)

Adrienne Kennedy, Ntozake Shange, and Suzan-Lori Parks may very well be three representative contemporary African-American women playwrights. They depict mostly African-American women's experiences of social, racial, sexual oppression on stage and, in doing so, they experiment with a variety of innovative theatrical technique, incorporating songs, dance, masks, and sometimes historical figures.
Although their styles are different, they search their self-identities as black women. What each of these women has in common is their use of history, the black woman's body, language, and rituals.
Funnyhouse of a Negro, is one of Kennedy's early works and the one which most vividly embodies a variety of theatrical techniques. In this play a young black woman, Sarah, who is also called Negro, is looking for her self. Kennedy depicts a funnyhouse which is full of mirrors which show distorted images to illustrate the oppressed and hopeless state of black women. Sarah is depicted as having four selves, differing by sex and race. These four selves illustrate African-American women's history and discourse that have been obliterated from the past to the present.
Two other themes of this work are her obsession with whiteness and blackness, and her fear of her father. Sarah longs for white skin and straight hair. She is also obsessed by fear of her black father; more specifically, fear of her black father raping her. This fear is depicted in the play by an audio image of repeated knocks whenever her father visits her, and by a visual image of Sarah's hair falling out. Kennedy also expresses her vision through condensed and poetic language.
In for colored girls who have considered suicide/when the rainbow is enuf, Shange portrays the process of black women searching for their identity within the black community. Seven women wearing rainbow-colored dresses appear as representatives of black women's experiences. Black English and choreopoem are her key theatrical techniques. Also, the use of rituals in the play, showing these women becoming a united force, represents a positive aspect of black theater.
Venus is a very controversial work which deals with the exploitation of the black woman's body and her sexuality down through history. It is based on the real story of Saartjie Baartman who was taken from South Africa to Europe in 1810. She was exhibited, generally wearing little clothing, in order to provide entertainment. Putting her on exhibition only promulgated their racist and exist beliefs. Parks also points out that both science and medicine were used to justify false beliefs concerning race by issuing several autopsy reports even after her death.
In this play, Venus's body is not only a site of fascination and revulsion, but also one of complicity and shame. Parks wants to resurrect and reinvestigate this part of their erased history. Like Shange, Parks draws from African traditions such as African-American vernacular English and their rituals as strategies to combat such silence. She searches for ‘a drama of accumulation’ through repetition with revision.
They use aesthetics of “refusal” to confirm the fact that they will not be defeated by the oppression in their lives, and also to show that they “resist” in order to recover their lost voices. They are challenging, breaking new ground in the genre of African-American plays. However, African-American women playwrights should be cautious not to focus only on women or reduce the issues to only black people. Black women need harmony and co-existance in order to regain their voices.

국문 초록 (Abstract)

위 자료는 박사학위논문입니다.

국문 초록 (Abstract)

Ⅰ. 서론
Ⅱ. 케네디의『니그로의 요술집』: 분열된 자아의 발견
(1) 분열된 자아와 요술집
(2) 백/흑인성에 대한 강박관념
(3) 아버지에 대한 공포와 거부
Ⅲ. 샹게의『무지개가 떴을 때 자살을 생각해 본 흑인 소녀들을 위하여』: 의식을 통한 자아찬양
(1) 흑인 공동체내의 소녀들
(2) 흑인 언어와 무용시극
(3) 치유를 위한 비전
Ⅳ. 팍스의『비너스』: 다시 읽고 다시 쓰는 흑인 여성의 몸과 역사
(1) 흑인 여성의 대상화
(2) 욕망의 물신화
(3) 새로운 역사를 위한 제언
Ⅴ. 결론