현대 연극 텍스트를 통해 본 장애의 미학 - The Birthday Party에 나타난 언어장애의 경우 -
A Theatre-Sociological Approach to an Aesthetic of Disability in The Birthday Party
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시대정신의 변화와 더불어 장애를 보는 시각도 변화를 거듭해오고 있다. 관습적 인식을 전복하는 역설의 미학을 중시하는 포스트 시대의 가치는 장애인식 교육에 있어서도 발상의 전환을 촉구하며 통합의 가속화를 요구한다. 이에 이 연구에서는 2005년 노벨문학상 수상자인 영국의 극작가 Harold Pinter의 The Birthday Party에 나타난 언어장애의 경우를 연극사회학적 관점으로 접근하여 이 극에 나타난 장애의 미학을 조명해봄으로써 특수교육의 실제에 기여할 수 있는 인식적 기반을 공고히 하고자 하였다. The Birthday Party에서는 Stanley라는 주인공이 등장하여 어느 해변가의 하숙집에서 안온한 생활을 즐기던 중, 위협적인 외부의 방문객들에 의해 이끌려가게 되면서 주인공이 수수께끼와도 같은 그들의 질문 공세를 감당해내지 못하고 언어장애를 보이게 된다. 이 연구에서는 Stanley의 이러한 상황에 대해 Stanley의 사회적 자아형성과정으로 해석하고, 주로 Lacan의 정신분석학이론에 입각하여 Stanley의 성장을 분석하면서, 이 극에 나타나는 언어사용전략과 함께 주인공의 언어장애가 시사하는 장애의 미학을 탐색해보았다.
Abstract
Art-based educational research is attempted to enhance perspectives pertaining to human activities and the ultimate goal for doing ABER is the betterment of educational policy and practice. This study aims at finding an aesthetic of disability by a theatre-sociological approach to The Birthday Party by Pinter. On the level of psychological archetypes, The Birthday Party is a metaphor for the process of growing up, of expulsion from the world of childhood. Meg is a mother-image seen from the viewpoint of an Oedipus complex. Stanley is reluctant to leave the warm nest, and it reveals his wish to stay at the childhood status without the danger of castration. Goldberg and McCann are understood as the projection of father-image, the metaphor of society. Employing Lacan's terminology, Stanley remains in the 'imaginary' stage. The language used in the play is fragmental and illogical, since it is the language which fails to get into the 'symbolic', the world of the signifier and the order. The dialogue in this play contains many characteristics found in everyday conversation; frequent pauses and silence, repetitiveness, non sequiturs, mumbling, ambiguity, and the communication problems. Even aphasia is found in the subversive reaction of Stanley to the dominant language strategy of Goldberg and McCann. In the perspective of the postmodernism, such use of dialogues reflects the phase of the language deconstruction and the very essence of language itself. Pinter successfully recreates everyday language into an effective dramatic language and achieve an aesthetic of (language) disorder.
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