리온 포이히트방어와 고대인도 드라마의 현대적 수용과 변용 = Lion Feuchtwanger and the modern reception and transfiguration of ancient Indian dramas

다국어 초록 (Multilingual Abstract)

Feuchtwanger``s intense preoccupation with India, namely with Indian philosophies, religions and Indian history, included the Indian with the seal, which he greatly admired. He wrote a total of three Indian pieces, two Indian adaptations (“Vasantasena”and “The King and the Dancer”) and an Indian colonial drama (Warren Hastings). Feuchtwanger knew the specifics of the ancient Indian dramas and tried with great dramaturgical sensibility of the old seals, then a German theater in accordance with a new artistic remodel. Feuchtwanger was creative but it was“to have received the gestural richness of the dialogue and not to entirely neglect the poetic charm of many lyric and epic extensions. Without any reason Feuchtwanger had decided on editing just the two Indian dramas. Thanks to a convenient linguistic and philological training, which included studies of Sanskrit, he was able to read the Indian pieces in the original work. But we must not forget that Feuchtwanger``s two Indian operations for the theater are not a new philological transmission that he wanted to add to the existing translations, as he wrote in his introduction to “peace”. Feuchtwanger wanted to prove in his reworking of the Indian pieces“the naive vitality of ancient Indian work. Without a doubt, the world``s sponsoring goals minded Feuchtwanger with his two Indian adaptations from it that he, as the spiritual model for Europe, where just felt doomed and decayed to convey the “wisdom-filled resignation”. These intentions are conveyed in his introduction to “Vasantasena”. Lion Feuchtwanger``s two adaptations are implicit in clear contrast to the nationalist war literature and were not a commitment to listening to the poet``s beauty and humanity.

참고문헌 (Reference)

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