이 연구는 글로벌 시대에 연극계의 담론을 지배해온 문화상호주의 연극의 개념을 정리하고 독일의 대표적 현대극작가인 브레히트의 연극작업을 문화상호주의적 시각에 초점을 맞추어 분석하려는 의도에서 시도되었다.
브레히트의 작품들은 동양문화권에서 소재를 가져다 쓴 비유극 내지 비유적 성격이 강한데 이들이야말로 문화상호주의적 작업의 결과였다.
중국의 『회란기』에서 소재를 얻었다는 희곡『코카서스의 백묵원 Der kaukasische Kreidekreis』이나 『사천의 선인Der gute Mensch von Sezuan』은 중국의 소설을 바탕으로 하거나, 맹자, 장자 등 중국 고전들을 인용한다는 점에서, 그리고 동서양의 전통을 흡수해서 극의 비유적 성격과 생소화 효과를 강화시켰다는 데서 그 공통점이 확인된다.
브레히트는 그의 작품 배경을 종종 독일어권이 아닌 타자문화권으로 설정해 낯선 옷을 입힘으로서 서사극의 골격을 이루는 생소화 효과를 극대화시켰다. 특히 그의 비유극 Parabelst？k에서 두드러지는 이런 문화적 생소화기법은 그 비유적 성격으로 인해 주제와 기본담론이 어느 문화권에도 대입ㆍ전이 될 수 있게 하기 때문에 이 형식이야말로 브레히트가 민중계몽을 위해 추구했던 ‘보편적 리얼리즘 연극’을 세계화시키는 수단이었다.
여기서는 특히 『사천의 선인』을 예로 들어 한 지역을 예로 든 문화적 특수성과 세계적 보편성의 상관관계를 구체적으로 분석하고 있다.
아울러 이 작품을 예로 브레히트의 동양권에 대한 문화상호적 작업이 과연 우리 무대에서는 어떻게 재수용되고 있는지 검토해보았다.
이 연구는 글로벌 시대에 연극계의 담론을 지배해온 문화상호주의 연극의 개념을 정리하고 독일의 대표적 현대극작가인 브레히트의 연극작업을 문화상호주의적 시각에 초점을 맞추어 분석하려는 의도에서 시도되었다.
브레히트의 작품들은 동양문화권에서 소재를 가져다 쓴 비유극 내지 비유적 성격이 강한데 이들이야말로 문화상호주의적 작업의 결과였다.
중국의 『회란기』에서 소재를 얻었다는 희곡『코카서스의 백묵원 Der kaukasische Kreidekreis』이나 『사천의 선인Der gute Mensch von Sezuan』은 중국의 소설을 바탕으로 하거나, 맹자, 장자 등 중국 고전들을 인용한다는 점에서, 그리고 동서양의 전통을 흡수해서 극의 비유적 성격과 생소화 효과를 강화시켰다는 데서 그 공통점이 확인된다.
브레히트는 그의 작품 배경을 종종 독일어권이 아닌 타자문화권으로 설정해 낯선 옷을 입힘으로서 서사극의 골격을 이루는 생소화 효과를 극대화시켰다. 특히 그의 비유극 Parabelst？k에서 두드러지는 이런 문화적 생소화기법은 그 비유적 성격으로 인해 주제와 기본담론이 어느 문화권에도 대입ㆍ전이 될 수 있게 하기 때문에 이 형식이야말로 브레히트가 민중계몽을 위해 추구했던 ‘보편적 리얼리즘 연극’을 세계화시키는 수단이었다.
여기서는 특히 『사천의 선인』을 예로 들어 한 지역을 예로 든 문화적 특수성과 세계적 보편성의 상관관계를 구체적으로 분석하고 있다.
아울러 이 작품을 예로 브레히트의 동양권에 대한 문화상호적 작업이 과연 우리 무대에서는 어떻게 재수용되고 있는지 검토해보았다.
In this era of technology, people and ideas move so rapidly, they are brought together and mixed ever closer, giving birth to a new notion: Interculturalism. "Intercultural" might be the dramatic and scenic writing of Peter Brook, H？？e Cixous and Ariane Mnouchkine, in their staging of Indian history...
In this era of technology, people and ideas move so rapidly, they are brought together and mixed ever closer, giving birth to a new notion: Interculturalism. "Intercultural" might be the dramatic and scenic writing of Peter Brook, H？？e Cixous and Ariane Mnouchkine, in their staging of Indian history, in which simulated corporeal and vocal techniques were supposed to represent diverse ethnic groups in the Indian subcontinent. Patrice Pavis cites Eugenio Barba, Mnouchkine, Brook, Robert Wilson and Heiner M？ler as exemplary exponents of interculturalist theatre. Somewhat unexpectedly he also cites Artaud. He could also have noted Stanislavski, Brecht, Grotowski as examples of ‘historical interculturalism’. From the perspective of the non-Western other, on the contrary, one might examine the ways in which a Japanese director like Tadashi Suzuki stages Shakespeare or Greek tragedy, using gestural and vocal techniques borrowed from traditional Japanese forms. This study examine especially the Works of Bertolt Brecht, the German playwright, poet, theatre critic, and theorist. Brecht used the theater as a forum for social critique and whose dramas include Mutter Courage und ihre Kinder and Dreigroschenoper. He was influenced by a wide variety of sources including Chinese, Japanese, and Indian theatre, the Elizabethans (especially Shakespeare), Greek tragedy, B？hner, Wedekind, fair-ground entertainments, the Bavarian folk play, and many more. He also adapted Sophocles" Antigone. Such a wide variety of sources might have proven overwhelming for a lesser artist, but Brecht had the uncanny ability to take elements from seemingly incompatible sources, combine them, and make them his own. Der gute Mensch von Sezuan is an example of this kind of Interculturalism. It was written between 1939 and 1941, but completed in 1943 while the author was living in political exile in The United States, and was first performed (in 1943) at the Schauspielhaus Z？ich in Switzerland with a musical score and songs by Swiss composer Huldreich Georg Fr？. Today, Paul Dessau"s composition of the songs from 1947-48 is far more well-known than Fr？"s. Dessau"s music was also authorized by Brecht. This play, along with many of the author"s others in this period, are considered examples of epic theatre, and were not written to be staged according to the traditional practices and assumptions of the "realistic" theatre. Der gute Mensch von Sezuan is a parable of a woman torn between her needs and those of her friends and neighbors. When three gods appear in the slum of Sezuan, only Shen Te, an earnest prostitute, will take them in. They reward her with money, which she invests in a tobacco shop, but her innocence and poor business skills make her a target for unscrupulous locals. To save her shop, she assumes the guise of a shrewd, entrepreneurial male cousin, Shui Ta. This play is one of Brecht"s most intercultural plays, blending his fascination with Chinese theatricality, German politics and American detective novels. Part of Brecht"s genius is the way he combines different cultures to make a work that is stylistically a piece of art.
In this era of technology, people and ideas move so rapidly, they are brought together and mixed ever closer, giving birth to a new notion: Interculturalism. "Intercultural" might be the dramatic and scenic writing of Peter Brook, H？？e Cixous and Ariane Mnouchkine, in their staging of Indian history, in which simulated corporeal and vocal techniques were supposed to represent diverse ethnic groups in the Indian subcontinent. Patrice Pavis cites Eugenio Barba, Mnouchkine, Brook, Robert Wilson and Heiner M？ler as exemplary exponents of interculturalist theatre. Somewhat unexpectedly he also cites Artaud. He could also have noted Stanislavski, Brecht, Grotowski as examples of ‘historical interculturalism’. From the perspective of the non-Western other, on the contrary, one might examine the ways in which a Japanese director like Tadashi Suzuki stages Shakespeare or Greek tragedy, using gestural and vocal techniques borrowed from traditional Japanese forms. This study examine especially the Works of Bertolt Brecht, the German playwright, poet, theatre critic, and theorist. Brecht used the theater as a forum for social critique and whose dramas include Mutter Courage und ihre Kinder and Dreigroschenoper. He was influenced by a wide variety of sources including Chinese, Japanese, and Indian theatre, the Elizabethans (especially Shakespeare), Greek tragedy, B？hner, Wedekind, fair-ground entertainments, the Bavarian folk play, and many more. He also adapted Sophocles" Antigone. Such a wide variety of sources might have proven overwhelming for a lesser artist, but Brecht had the uncanny ability to take elements from seemingly incompatible sources, combine them, and make them his own. Der gute Mensch von Sezuan is an example of this kind of Interculturalism. It was written between 1939 and 1941, but completed in 1943 while the author was living in political exile in The United States, and was first performed (in 1943) at the Schauspielhaus Z？ich in Switzerland with a musical score and songs by Swiss composer Huldreich Georg Fr？. Today, Paul Dessau"s composition of the songs from 1947-48 is far more well-known than Fr？"s. Dessau"s music was also authorized by Brecht. This play, along with many of the author"s others in this period, are considered examples of epic theatre, and were not written to be staged according to the traditional practices and assumptions of the "realistic" theatre. Der gute Mensch von Sezuan is a parable of a woman torn between her needs and those of her friends and neighbors. When three gods appear in the slum of Sezuan, only Shen Te, an earnest prostitute, will take them in. They reward her with money, which she invests in a tobacco shop, but her innocence and poor business skills make her a target for unscrupulous locals. To save her shop, she assumes the guise of a shrewd, entrepreneurial male cousin, Shui Ta. This play is one of Brecht"s most intercultural plays, blending his fascination with Chinese theatricality, German politics and American detective novels. Part of Brecht"s genius is the way he combines different cultures to make a work that is stylistically a piece of art.
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