일망감시장치에서의 저항과 극복 : M.Butterfly와 Getting Out 연구 = Resistance and Conquest in Panopticon : A study on M.Butterfly and Getting Out

다국어 초록 (Multilingual Abstract)

There is a tequnique called decalcomania in art. It is simple to use this tequnique. First of all, apply water color on one side, left or right of a paper and fold paper by half. After that, unfold a paper and you will find that one side of paper is the same with the other side. In color and shape, one is equal to the other side. They are just in the contrary direction, because two sides are opposite to each other.
In M.Butterfly which has a complicated plot, theatre-in-theatre-in-theatre- in-theatre, Rene Gallimard has the belief in his fantasy of being a powerful exploiter at the beginning in play and he does not break his fantasy that he will have dominance in the future, as a western male. However, he realize that he was outwitted by Song and he finally loses his power over "a beautiful woman" by the end of the play.
Since the audience owns the gaze on characters, it has fantasy of power like Gallimard and it realizes their broken position as the subject in the final scene. As Gallimard's position in power is changed from the subject to the other, so the audience's is changed in same direction. After the play is over, the house light lets the audience realize that their position is changed from spectators to the characters of the play. Besides, the audience begins to feel the gaze from somewhere in darkness on stage.
The change of position in power is happened in panopticon and is connected with gaze. Gallimard as subject has gaze on Song as the other and audience as the subject has gaze on them too. On the contrary, their relations like these are changed perfectly by the end.
In Getting out, the setting leads audience to acknowledge that theatre can be panopticon at the beginning of the play. The audience recognizes that it is not a spectator but a prisoner. Like a prisoner, Arlie is the other in a patriarchal society. She tries to escape from her position as the object of masculine gaze and a woman who is victimized by male characters but she can not escape, because she does not break herself as the fixed other in male-centered society and she accepts herself as defined by male. The guards compel her to give up herself as bad Arlie and she tries to transform Arlie to Arlene. Generally speaking, the prisoners just can be seen by the guards in panopticon while they can't see each other because they are to be isolated in separate cells. Likewise, Arlie and Arlene do not acknowledge each other, either. But she realizes the truth that she has to accept and recognize herself as Arlie or Arlene and she shows us the possibility that her position can be changed into the subject.
The two works, M.Butterfly and Getting out, share similarities in that the Foucauldian power in panopticon is explained on the space of the stage and has a different in their direction of change in power. So, M.Butterfly and Getting Out are almost the same as relations between the left and the right of the paper in decalcomania. Like the colors on the two sides of paper, their plots progress on a space, panopticon. Like the same shapes, it is happened the Foucauldian power game among characters and between character and audience in them. However, like the direction on the paper, the change of direction of power is advanced reversely.
Finally, the Foucauldian definition of power that is explained on two works is that power belongs to nobody and it can be fixed nowhere and this thesis analyzes M.Butterfly and Getting out focusing on this point.