T. S. Eliot의 詩劇과 演劇 理論 = A Study on the Dramatic Theory and Poetic Drama of T. S. Eliot

다국어 초록 (Multilingual Abstract)

The purpose of this study is to formulate Eliot's theory of drama in the light of his total religious and poetic development, which greatly influenced upon the writings of his poetic drama. In addition, the aim of this paper is to explore poetry in the theatre, theories of his plays, theories of his poetic drama and dramatic methods(technique), in relation to the dramatic theories of seveal critics in the Westren world with a view to understanding his beliefs(themes) in his plays and dramatic world more clearly.
Poetry in the theater is discussed in the chapter Ⅱ in relation to a few critics. In the argument of one of the interlocutors in Eliot's "Dialogue on Dramatic Poetry" of 1928, Eliot said that if we want to get at the permanent and universal, we tend to express ourselves in verse. The axiom of one of the interlocutors in Eliot's "Dialogue on Dramatic Poetry-" All poetry tends towards drama, and all drama towards poetry"-is a neat and dangerous generalization, but it contains an element of truth.
In the chapter Ⅲ, I examine Eliot's dramatic theories in relation to other critics. Eliot has grasped the conception of poetic drama as an organic whole. He realizes that the poetic pattern and the dramatic pattern must subsist together as integral products of one act of imagination. He believes that the verse play is capable of something much more intense and excitement. In genuine drama, the form is determined by the point on the line at which a tension between liturgy and realism takes place.
The theory of poetic drama, in relation to some theories of other critics is examined carefully in the chapter Ⅳ. In his "Poetry and Drama", Eliot explained that in the theatre, poetry must justify itself dramatically. In genuine poetic drama, the poetry and the drama are fused ; the language is essential action : first, in the sense that it often does what is says, and secondly in the sense that it is the most important part of the play making explicit what is really happening.
The most complete mode of reference is poetry, and the values inhere in a religious conception of life, in the belief that the goal of existence is God. It would seem that a religious attitude to human life is necessary for the writing of true poetic drama.
Eliot does not wish to give the readers the impression that he would rule out of dramatic poetry these three things ; historical or mythological subject-matter, the chorus, and traditional blank verse.
Eliot's belief in the value of poetic drama is based on its recher resources for transcending the ephemeral and superficial, and for concentrating upon the permanent struggles and conflicts of human beings.
It seems that the really significant phase of modern poetic drama began when the drama went back to its origins inside the church and from there moved into the commercial theater by the way of the smaller specialized theatre.
It concluding chapter(Ⅴ), I would like to emphasize the importance of Eliot's saying ; "The ideal medium for poetry, to my mind, and the most direct means of social usefulness for poetry, is the theatre".(U.P.U.C.) Eliot is a writer of the need for significance. It appears that all his work is concerned with a search for the true meaning and the reality of the human situations.
In conclusion, Eliot was attempting to develop a new kind of theatre to fit the special requirements of his dramatic goals.

목차 (Table of Contents)

• Ⅰ. 序 論
• Ⅱ. 劇文學 속에서의 詩
• Ⅲ. 劇理論
• Ⅳ. 詩劇의 理論
• Ⅴ. 結 論
• 參考文獻
• 英文抄錄