포스트 서사극의 소통형식과 그 효과 - <못생긴 남자>와 <황금용>의 드라마투르기와 관객 수용을 중심으로

Abstract

This essay examines the theatrical tactics of the post-epic theatre in order to find out their communicative strategy, focusing on The Ugly One and The Golden Dragon. Brecht’s epic theatre employs the alienation effect (Verfremdungseffekt) to awaken the audience to critical thinking and to change themselves and society. These techniques of epic theatre have varied and enriched theatrical forms and traditions, but, over time, as an educational theatre or a political theatre, the essence of the epic theatre has been corrupted. Various theatres that use an episode structure or interfere with the audience’s empathy (so called the theatre uses the alienation effect) have been classified as an epic theatre, even so has post-drama that excludes the language and drama, and emphasizes the “body.” So, in German, the concept of “The post-epic theatre” is newly established by Bernard Stegemann. According to Stegemann, post-epic theatre, following Brecht’s forms and purpose, focuses on drama again because drama can attract an audience and make the work communicate with them. The Ugly One and The Golden Dragon have the techniques of epic theatre and of anti-epic theatre. They employ an episode structure and double role (belonging to epic theatre) in order to make the critical distance and alienation effect, especially, their distinctive double role throws questions to the audience and make them think about each work’s critical mind. Also, using an episodic but dramatic structure, they give the audience a mission to make the work complete. These attempts get the audience involved in the work. In addition, The Ugly One and The Golden Dragon employ an emotional character and an illusionary scene leading to the audience’s empathy. The strategy of empathy seems to oppose the epic theatre, but, in fact, has the effect on making audience understand and agree with their critical mind. In this communicative strategy, the post-epic theatre expands the technique of the epic theatre, as well as follows Brecht’s epic theatre.