1990년대 영국의 ‘도발적 연극’에 나타난 서사 실험성 -<리낸의 아름다운 여인>, <쇼핑하고 뻑킹하기>, <정화된 자들>을 중심으로-
The Experimental Narrative Strategies of the British 1990s' In-yer-face Theatre -Centering on Martin McDonagh's The Beauty Queen of Leenane, Mark Ravenhill's Shopping and Fucking, and Sarah Kane's Cleansed-
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This paper aimed to analyze the narrative strategies of the 1990s' in-yer-face theatre and to explore how they could provoke the current social reality. In this, I found the 1990s' in-yer-face theatre shared the narrative style with the 19c's Naturalism as well as some aspects of the 20c's performance. While narrative strategy of Naturalism revealed the hidden truth between the lines, the physical materiality of performance as well as the virtuality of performance vitalized the theatrical event ‘here and now’. Incorporating the narrative style from Naturalism and performance, the 1990s' in-yer-face theatre playwrights could perform the real with the narratives. To develop my argument I have chosen the three representative in-yer-face theatre playwrights' texts, Martin McDonagh‘s The Beauty Queen of Leenane, Mark Ravenhill's Shopping and Fucking, and Sarah Kane's Cleansed. How the narrative could perform the real was consistently focused during the analysis. In The Beauty Queen of Leenane, the narratives revealed the social and individual conflicts of Ireland under the current socio-cultural atmosphere of globalization. On the one hand globalization homogenized and concealed human condition, the narrative strategy could offer theatrical interventions at the limits of theatrical expression. With the aspects of Naturalism, the narrative was able to show the real concerning how the environment has influenced the individual's life and to subvert the conventional literary idealism about Irishness. Also, the performance aspect provoked secret violence between Mag and Maureen to the audience, which was caused by this socially doomed environment. Shopping and Fucking mapped the present consumerism within fourteen scenes. The playwright chose the marginalized individuals to provoke the real how the consumerism soaked every individual's lives. To do this he elaborated narrative style of Naturalism which made the narrating acts compatible with plotting. In Cleansed, the narrative was placed at the border of earlier naturalistic style and later psycho physical style in Kane's career. While the narrative emphasized the symbolic nuance, the playwright juxtaposed the love and violence as theatrical events. Embracing the performance aspect into the narrative and into a theatrical form, the narrative could widen the horizon of literary narrative. As the 1990s' in-yer-face theatre began to disappear with the new millenium, scholars are attempting to revaluate it and place it in the theatre history. They seemed to consider the politics as a norm to decide whether it could belong to the theatrical cannons or it should be regarded as a temporary fin-de siècle anxiety, and it hasn't been answered yet though there were numerous scholaric attempts. This paper advocated the politics in conjunction with the narrative strategy as a theatrical esthetic should be considered in its evaluation. To perform the real, the 1990s' playwrights reinvented narrative strategy in a experimental way fusing the aspects of Naturalism and performance. When we could admit its validity of the narrative style as experimental theatrical aesthetics, it also could survive as a narrative method to be used afterwards.
Abstract
This paper aimed to analyze the narrative strategies of the 1990s' in-yer-face theatre and to explore how they could provoke the current social reality. In this, I found the 1990s' in-yer-face theatre shared the narrative style with the 19c's Naturalism as well as some aspects of the 20c's performance. While narrative strategy of Naturalism revealed the hidden truth between the lines, the physical materiality of performance as well as the virtuality of performance vitalized the theatrical event ‘here and now’. Incorporating the narrative style from Naturalism and performance, the 1990s' in-yer-face theatre playwrights could perform the real with the narratives. To develop my argument I have chosen the three representative in-yer-face theatre playwrights' texts, Martin McDonagh‘s The Beauty Queen of Leenane, Mark Ravenhill's Shopping and Fucking, and Sarah Kane's Cleansed. How the narrative could perform the real was consistently focused during the analysis. In The Beauty Queen of Leenane, the narratives revealed the social and individual conflicts of Ireland under the current socio-cultural atmosphere of globalization. On the one hand globalization homogenized and concealed human condition, the narrative strategy could offer theatrical interventions at the limits of theatrical expression. With the aspects of Naturalism, the narrative was able to show the real concerning how the environment has influenced the individual's life and to subvert the conventional literary idealism about Irishness. Also, the performance aspect provoked secret violence between Mag and Maureen to the audience, which was caused by this socially doomed environment. Shopping and Fucking mapped the present consumerism within fourteen scenes. The playwright chose the marginalized individuals to provoke the real how the consumerism soaked every individual's lives. To do this he elaborated narrative style of Naturalism which made the narrating acts compatible with plotting. In Cleansed, the narrative was placed at the border of earlier naturalistic style and later psycho physical style in Kane's career. While the narrative emphasized the symbolic nuance, the playwright juxtaposed the love and violence as theatrical events. Embracing the performance aspect into the narrative and into a theatrical form, the narrative could widen the horizon of literary narrative. As the 1990s' in-yer-face theatre began to disappear with the new millenium, scholars are attempting to revaluate it and place it in the theatre history. They seemed to consider the politics as a norm to decide whether it could belong to the theatrical cannons or it should be regarded as a temporary fin-de siècle anxiety, and it hasn't been answered yet though there were numerous scholaric attempts. This paper advocated the politics in conjunction with the narrative strategy as a theatrical esthetic should be considered in its evaluation. To perform the real, the 1990s' playwrights reinvented narrative strategy in a experimental way fusing the aspects of Naturalism and performance. When we could admit its validity of the narrative style as experimental theatrical aesthetics, it also could survive as a narrative method to be used afterwards.
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