세상 속 세상의 『작은 앨리스』
iny Alice in Worlds within Worlds Tiny Alice in Worlds within Worlds
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Tiny Alice is an intriguing play and Albee explains it in various terms including a metaphysical dream play, a morality play, and a mystery play and a double mystery. Using these terms, Albee focuses on the explanation of Julian’s confusion, a lay brother, who has difficulties distinguishing his knowledge of God from what people create as God, as well as reality from illusion. Julian goes through bizarre experiences comparable to those of Alice in Alice in Wonderland, only with religious connotations. He marries Miss Alice, who informs him that she is only a surrogate of Alice, who exists in a doll’s-house model on the stage. As the content of the play is mysterious and mind-boggling, Albee attempts to experiment with the form using props, which have multiple symbolic meaning such as a doll’s-house model, a phrenological head, and cardinals in a birdcage. Besides, Albee applies the double meaning to the dramatic structure, the role-playing of characters, and parody. These dramatic techniques reinforce the theme of reality and illusion, which Albee believes to reflect the relationship between the world and another small world called theatre.
Abstract
Tiny Alice is an intriguing play and Albee explains it in various terms including a metaphysical dream play, a morality play, and a mystery play and a double mystery. Using these terms, Albee focuses on the explanation of Julian’s confusion, a lay brother, who has difficulties distinguishing his knowledge of God from what people create as God, as well as reality from illusion. Julian goes through bizarre experiences comparable to those of Alice in Alice in Wonderland, only with religious connotations. He marries Miss Alice, who informs him that she is only a surrogate of Alice, who exists in a doll’s-house model on the stage. As the content of the play is mysterious and mind-boggling, Albee attempts to experiment with the form using props, which have multiple symbolic meaning such as a doll’s-house model, a phrenological head, and cardinals in a birdcage. Besides, Albee applies the double meaning to the dramatic structure, the role-playing of characters, and parody. These dramatic techniques reinforce the theme of reality and illusion, which Albee believes to reflect the relationship between the world and another small world called theatre.
참고문헌 (13)
- Albee, Edward, "The Play about the Baby" (1997), Dramatists Play Service
- Albee, Edward, "Tiny Alice" (1966), Pocket Books
- Albee, Edward, "Who’s Afraid of Virginia Woolf?" (1963), Pocket Books
- Amacher, Richard E., "Edward Albee" (1982), Twayne
- Anderson, Mark, "Living on the Precipice: A Conversation with Edward Albee in : Conversations with Edward Albee", pp.158~172 (1988), UP of Mississippi
- Casper, Leonard, "Tiny Alice: The Expense of Joy in the Persistence of Mystery in : Edward Albee: An Interview and Essays", pp.83~92 (1983), U of St. Thomas
- Dukore, Bernard F., "Dramatic Theory and Criticism: Greeks to Growtowski" (1974), Holt
- Gardner, Paul, "‘Tiny Alice’ Mystifies Albee, Too", New York Times, pp.22~ (1965)
- Gussow, Mel, "Edward Albee: A Singular Journey: A Biography" (1999), Simon
- Mann, Bruce J., "Edward Albee: A Casebook" (2003), Routledge
- Markus, Thomas B., "Tiny Alice and Tragic Catharsis", Educational Theatre Journal, 17, pp.225~233 (1965)
- Sullivan, Kathy, "Albee at Notre Dame in : Conversations with Edward Albee", pp.184~189 (1988), UP of Mississippi
- Valgemae, Mardi, "Albee’s Great God Alice in : Critical Essays on Edward Albee", pp.101~107 (1986), G. K. Hall