이 글의 목적은 셰익스피어의 제1사부작의 마지막 작품인 『리처드 3세』를 극의 구성과 관련지어 살피는 것이다 셰익스피어는 이 작품에서 당대의 연대기극들이 보여주는 삽화적, 직선적 구성에서 탈피하여 반복과 대칭, 병행하는 장면 구성을 통하여 과거의 역사적 사건들을 극적 행위의 관점에서 재구성한다. 장면의 반복과 대칭, 병행 구성은 역사적 사건들의 상호 충돌을 통하여 관객들로 하여금 사건의 결과가 아니라 과정에 주목하게 해주며, 다양한 관점에서 그 의미를 해석할 수 있는 가능성을 열어준다. 병행/병치, 대립/비교의 극적 구성은 극의 주요 등장인물들의 극적 행위와 자기 인식의 한계를 마치 거울을 통해서 관객들에게 투사시키는 듯한 효과를 자아낸다. 이 작품의 메타극적인 성격은 이러한 극 구성 전략을 반영하고 있으며, 사건과 인물들의 충돌이 빚어내는 극적 아이러니는 연대기적인 역사를 인문주의적인 관점에서 동적으로 재해석하는 셰익스피어의 역사관을 반영한다. 셰익스피어는 역사를 연극으로 재구성함으로써 역사쓰기와 플롯구성(emplotment)의 관계를 연극놀이와 정치의 유비관계 안에서 제시한다. 그의 반복적인 병행, 대립 구성은 역사와 시의 병행과 대립 관계를 암시하고 있다.
이 글의 목적은 셰익스피어의 제1사부작의 마지막 작품인 『리처드 3세』를 극의 구성과 관련지어 살피는 것이다 셰익스피어는 이 작품에서 당대의 연대기극들이 보여주는 삽화적, 직선적 구성에서 탈피하여 반복과 대칭, 병행하는 장면 구성을 통하여 과거의 역사적 사건들을 극적 행위의 관점에서 재구성한다. 장면의 반복과 대칭, 병행 구성은 역사적 사건들의 상호 충돌을 통하여 관객들로 하여금 사건의 결과가 아니라 과정에 주목하게 해주며, 다양한 관점에서 그 의미를 해석할 수 있는 가능성을 열어준다. 병행/병치, 대립/비교의 극적 구성은 극의 주요 등장인물들의 극적 행위와 자기 인식의 한계를 마치 거울을 통해서 관객들에게 투사시키는 듯한 효과를 자아낸다. 이 작품의 메타극적인 성격은 이러한 극 구성 전략을 반영하고 있으며, 사건과 인물들의 충돌이 빚어내는 극적 아이러니는 연대기적인 역사를 인문주의적인 관점에서 동적으로 재해석하는 셰익스피어의 역사관을 반영한다. 셰익스피어는 역사를 연극으로 재구성함으로써 역사쓰기와 플롯구성(emplotment)의 관계를 연극놀이와 정치의 유비관계 안에서 제시한다. 그의 반복적인 병행, 대립 구성은 역사와 시의 병행과 대립 관계를 암시하고 있다.
William Shakespeare"s Richard Ⅲ begins just at the point where Henry Ⅵ, Part Ⅲ ends, both in dramatic action and time sequence. If the latter is Richard"s potentiality, the former is his actualization of his self-imposed kingship. Richard is a villain-hero who fashions his deformity, physical and me...
William Shakespeare"s Richard Ⅲ begins just at the point where Henry Ⅵ, Part Ⅲ ends, both in dramatic action and time sequence. If the latter is Richard"s potentiality, the former is his actualization of his self-imposed kingship. Richard is a villain-hero who fashions his deformity, physical and mental at once, onto the golden target of the English crown. Up to the Act 4, scene 2, which enacts his coronation ritual half maimed, Richard is on the rise, while after the pivotal scene he is on the fall. Hence the play has the pyramidal structure of the rise and the fall. The play develops its plot structure in parallel with Richard"s incessant plots laid out in order to trap his political opponents into victims. Richard"s plots derive from his self-conscious theatricality, which finally deludes himself into a shadow with no substance of his true self. Quite ironically, the bottled spider and the hound of hell, Richard, is cursed into death by the eleven ghost-shadows killed by him. Richard the shadow confounds himself. Since the play is concentrated on Richard who tries to identify himself with the audience by his repetitive and self-revealing asides and soliloquies, Shakespeare deconstructs his one-man play by the juxtaposition and reversal of the symmetrical and contrastive scenes, as shown in the wooing scenes of Act 1, scene 2, Act 4, scene 4, and Act 3, scene 7. As in the hall of mirrors, the paralleled and symmetrical scenes mutually shed light on the nature of historical events and persons at issue. Dramatic ironies arising from the collision and confrontation of multiple viewpoints are a kind of working principle in the play, and they reflect Shakespeare"s view of history as dynamic and ever changing processes. Quite similar to the London Scrivener who composes a well-wrought artifact falsely accusing Lord Hastings of high treason against Richard, Shakespeare the playwright put the Tudor myth into examination by his prismatic plot structure. Richard Ⅲ is a deliberately and tightly designed play, illuminating Shakespeare"s mature dramaturgy in the early 1590s.
William Shakespeare"s Richard Ⅲ begins just at the point where Henry Ⅵ, Part Ⅲ ends, both in dramatic action and time sequence. If the latter is Richard"s potentiality, the former is his actualization of his self-imposed kingship. Richard is a villain-hero who fashions his deformity, physical and mental at once, onto the golden target of the English crown. Up to the Act 4, scene 2, which enacts his coronation ritual half maimed, Richard is on the rise, while after the pivotal scene he is on the fall. Hence the play has the pyramidal structure of the rise and the fall. The play develops its plot structure in parallel with Richard"s incessant plots laid out in order to trap his political opponents into victims. Richard"s plots derive from his self-conscious theatricality, which finally deludes himself into a shadow with no substance of his true self. Quite ironically, the bottled spider and the hound of hell, Richard, is cursed into death by the eleven ghost-shadows killed by him. Richard the shadow confounds himself. Since the play is concentrated on Richard who tries to identify himself with the audience by his repetitive and self-revealing asides and soliloquies, Shakespeare deconstructs his one-man play by the juxtaposition and reversal of the symmetrical and contrastive scenes, as shown in the wooing scenes of Act 1, scene 2, Act 4, scene 4, and Act 3, scene 7. As in the hall of mirrors, the paralleled and symmetrical scenes mutually shed light on the nature of historical events and persons at issue. Dramatic ironies arising from the collision and confrontation of multiple viewpoints are a kind of working principle in the play, and they reflect Shakespeare"s view of history as dynamic and ever changing processes. Quite similar to the London Scrivener who composes a well-wrought artifact falsely accusing Lord Hastings of high treason against Richard, Shakespeare the playwright put the Tudor myth into examination by his prismatic plot structure. Richard Ⅲ is a deliberately and tightly designed play, illuminating Shakespeare"s mature dramaturgy in the early 1590s.
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