쇼의 피그말리온의 결말부 재검토하기: 원작과 개작들 사이에서
Re-examining the Ending of Shaw’s Pygmalion: Between the Original Play and the Adaptations
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More often than not, the performance history of Bernard Shaw’s Pygmalion has seen the romanticization of Higgins and Eliza’s relationship. Even in the London premiere of the play in 1914, the romanticized ending of the play caused troubles between Shaw and his actors, Herbert Beerbohm Tree and Mrs. Patrick Campbell. Because of this Shaw added the prose sequel to his first printed version of this play (1916) to precisely express his authorial intention to the audience. Despite his efforts, however, the romanticization of the play in performance continued later in the film versions and even in the musical versions of the play. Presumably, the conflicts between romantic and anti-romantic interpretations of the play were already embedded in the play regardless of the author's intention. Also, the dialectical relationship between the original play and the adaptations revitalized the play to live a long afterlife. Fortunately to Shaw, however, in our time when feminism has prevailed, his anti-romantic ending in Pygmalion has been received no longer as unconventional. Rather, it is more relevant to our feminist culture empowering a woman to be a strong individual as much as a man. Against Paul Bauschartz’s term, “uneasy evolution,” which negatively evaluates the history of the romantic receptions of the play up to the 1964 My Fair Lady film, recent anti-romantic receptions of the play show us a new possibility of coevolution between the original play and its adaptations.
Abstract
More often than not, the performance history of Bernard Shaw’s Pygmalion has seen the romanticization of Higgins and Eliza’s relationship. Even in the London premiere of the play in 1914, the romanticized ending of the play caused troubles between Shaw and his actors, Herbert Beerbohm Tree and Mrs. Patrick Campbell. Because of this Shaw added the prose sequel to his first printed version of this play (1916) to precisely express his authorial intention to the audience. Despite his efforts, however, the romanticization of the play in performance continued later in the film versions and even in the musical versions of the play. Presumably, the conflicts between romantic and anti-romantic interpretations of the play were already embedded in the play regardless of the author's intention. Also, the dialectical relationship between the original play and the adaptations revitalized the play to live a long afterlife. Fortunately to Shaw, however, in our time when feminism has prevailed, his anti-romantic ending in Pygmalion has been received no longer as unconventional. Rather, it is more relevant to our feminist culture empowering a woman to be a strong individual as much as a man. Against Paul Bauschartz’s term, “uneasy evolution,” which negatively evaluates the history of the romantic receptions of the play up to the 1964 My Fair Lady film, recent anti-romantic receptions of the play show us a new possibility of coevolution between the original play and its adaptations.
참고문헌 (21)
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