‘포스트-브레히트’ 연극의 환원불가능성 구현- 리미니 프로토콜의 <100% 광주>를 중심으로

Abstract

This paper considers the dramatic essence of the Post-Brechtian plays through the analysis of the works of Rimini Protokoll and the work of <100% Gwangju> focusing on the concept of non-reductionism. David Barnett began to debate the notion of non-reductionism as a property of the Post-Brechian plays, but further to the point this paper considers the non-reductionism is the power to make the essence of the epic theatre differentiated from Brecht. And this paper suggest that non-reductionism can realize the epic theatre when it becomes a more concrete concept of ‘fluidity’. The concept of fluidity can be identified specifically by the creative methods of Rimini Protokoll and by the nature of the epic distance revealed in the works of this group. First, the Rimini Protokoll takes a fluid devising method in which a large number of participants try to co-create. In the process, rather than trying to reach a common agreed-upon goal, participants have to face conflicts, differences, instability and flexibility. And tend to skeptically question the validity of the act of creation. This fluid devising method is the driving force for the realization of the epic nature of reality that can not be reduced to anything. Second, the Rimini Protokoll makes the epic distance between character and narrator, which have been emphasized as merely visible distanced from each other in Brechtian plays, more obscure relationship by confusing, overlapping. The Rimini Protokoll, which creates an unclear liminality between fiction and reality, does not dominate one side of representation or presentation and makes both of them coexist fluidly. Thus, the epic distance that is played in an invisible and internalized state helps to realize the essence of the epic theatre once again as it becomes the second power to introduce the irreducible domain into the work.