제의와 드라마 사이: 바라카의 『노예』 읽기
Between Ritual and Drama: Reading Baraka’s The Slave
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Ritual is discerned not as religion alone, but as a pattern conceived for the purpose of healing and rejuvenating a specific community. African-American artists facilitate the paradoxical process of refusing Western models through African ritual, what really turns out to be a denial of, and reaction against, Euro-Western archetypes. Baraka adopts ritual characteristics in his drama, The Slave. He has every intention that his theatre may have an explicit social message to arouse audiences’ social awareness and move that audience to social action. What is characteristic and problematic in employing ritual elements in The Slave is that Baraka presents Walker’s journey of revolutionary war only to fail. Walker’s final transformation at the end of the play is an old negro slave. His transformation process is retrospective and backward to the past slavery era. The failure of a protagonist in The Slave might foretell that of a playwright, Baraka, who tried to wade through the polluted history and immature community of the African-Americans in the 1960s.
Abstract
Ritual is discerned not as religion alone, but as a pattern conceived for the purpose of healing and rejuvenating a specific community. African-American artists facilitate the paradoxical process of refusing Western models through African ritual, what really turns out to be a denial of, and reaction against, Euro-Western archetypes. Baraka adopts ritual characteristics in his drama, The Slave. He has every intention that his theatre may have an explicit social message to arouse audiences’ social awareness and move that audience to social action. What is characteristic and problematic in employing ritual elements in The Slave is that Baraka presents Walker’s journey of revolutionary war only to fail. Walker’s final transformation at the end of the play is an old negro slave. His transformation process is retrospective and backward to the past slavery era. The failure of a protagonist in The Slave might foretell that of a playwright, Baraka, who tried to wade through the polluted history and immature community of the African-Americans in the 1960s.
참고문헌 (15)
- Alter, Jean, "A Sociosemiotic Theory of Theatre" (1990), U of Pennsylvania P
- Baraka, Imamu Amiri, "Dutchman and The Slave" (1964), Morrow Quill Paperbacks
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- Costello, Donald P., "Five Black Writers", pp.206~214 (1970), New York UP
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- "Art is a Weapon in the Struggle of Ideas: Interviewing Amiri Baraka" (2009)[URL]
- Fabre, Genevieve, "Contemporary Afro-American Theatre: Drumbeats, Masks, and Metaphor" (1983), Harvard UP
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- Johnson, Charles, "Being & Race: Black Writing since 1970" (1998), Indiana UP
- 김정호, "흑인연극의 제의성에 대한 기호학적 분석: 바라카의 『더치맨』을 중심으로", 영어영문학연구, 39(1), pp.65~84 (2013), 대한영어영문학회[DOI]
- Majors, Richard, "Cool Pose: The Dilemmas of Black Manhood in America" (1992), Lexington Books
- Neal, Larry, "Afro-American Writers After 1955: Dramatists and Prose Writers", pp.293~300 (1955), Gale Research
- Webb, Richard C., "Ritual, Theatre, and Jean Genet’s The Blacks", Theatre Journal, 31, pp.443~459 (1979)