『미국 연극』에 나타난 미국 역사 다시쓰기의 전략
Strategies of Rewriting American History in The America Play
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This study examines the dramaturgical strategies of Suzan-Lori Parks’ The America Play with the aim of explaining the play’s appeal to the contemporary audience and criticism of ongoing indiscriminate acceptance of popular history. This play uses several devices such as mimicry, repetition, revision, meta theatre, and ritual to discover, restructure, and transform African-Americans’ painful past. Foundling Father, a character of President Lincoln's black double, and Brechtian gestus effects like assassination scenes and digging also de-constructs the myth of Lincoln which has played an important role in building contemporary American identity, and reminds the audience of the fact that history of black people has been concealed intentionally. Through these theatrical elements, Parks points out the popular tendency of believing what they want to believe and accepting the historical events or figures as their images. She wants the audiences to doubt documented history, and a new history to be rewritten on her ‘incubator’ stage.
Abstract
This study examines the dramaturgical strategies of Suzan-Lori Parks’ The America Play with the aim of explaining the play’s appeal to the contemporary audience and criticism of ongoing indiscriminate acceptance of popular history. This play uses several devices such as mimicry, repetition, revision, meta theatre, and ritual to discover, restructure, and transform African-Americans’ painful past. Foundling Father, a character of President Lincoln's black double, and Brechtian gestus effects like assassination scenes and digging also de-constructs the myth of Lincoln which has played an important role in building contemporary American identity, and reminds the audience of the fact that history of black people has been concealed intentionally. Through these theatrical elements, Parks points out the popular tendency of believing what they want to believe and accepting the historical events or figures as their images. She wants the audiences to doubt documented history, and a new history to be rewritten on her ‘incubator’ stage.
참고문헌 (27)
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