연극의 은유적 표현과 시각화에 관한 연구- 『시학』의 ‘미메시스’와 ‘메타포’ 개념을 중심으로 –

Abstract

Mimesis and metaphor are considered the representative concepts in Aristotle’sPoetics, which is regarded as the first philosophical and oldest theatrical theory. The argument with mimesis and metaphor has been continued for a long timeamong scholars and philosophers due to their different perspectives andinterpretations on the concepts. Regardless of the prolonged disputes, theAristotelian concepts penetrate the nature and creative principles of theatre arts. As essential elements in dramatic works, mimesis and metaphor still reflect theconvention of theatre today. This article deals with questions related to theillusionary world on stage that depicts the inner reality of human beings andtheir mundanity. In addition, creative principle of metaphorical expression forscenograhpy that describes the illusionary world on stage is also discussed. Thestudy takes its aim at seeking metaphorical manifestation of stage images, andbriefly analyzes scenography embodied by visual languages based on references tomimesis and metaphor. With operating features of limited space and time, theatre is needed anexpressional tool of implicative expression for interweaving communicationsbetween stage and auditorium. Since formalizing the concept of mimesis byAristotle, theatre has been recognized as an art form to represent or imitate theactualities of the world. As a matter of fact, metaphor is an effective vehicle toimply the truth of the world on the stage. While interpreting the mimesis as representation rather than mimicry, the stage is regarded as the actual world thatis the realm of metaphor in fact. The reason that the replica on stage looks realdepends on the method of metaphorical expression in the theatre, which is whytheatre is said to be the metaphor of reality not the replica of life. It could be said that theatre is not a copy of actuality but metaphor of reality. The metaphor on stage can be interpreted as a theatrical revelation induced bythe image of transformation. The argument with the mimesis and metaphor iseventually related with the style and function of theatre arts. Metaphor is ameans to describe something complicated into implication with lingering imageryin terms of theatrical expression. Metaphorical expression on the stage should beeffectively applied in order to overcome the limited space and time of theatrearts. Impression of the visual metaphor is varied according to multiple conditionsin which perception or expression causes somewhat different aspect of the feelingaffected by the metaphorical image. This alteration is often connected with thedevelopment of technologies and transition of aesthetics’ value as well. As atheatrical style is used for portraying the truth mimesis is an engine to obtain thecatharsis that Aristotle described as an objective of the ancient Greek tragedies. Moreover, Aristotle’s Poetics seems to stress the metaphorical expression as oneof theatrical instruments to evoke the catharsis with the mimesis of the humanaction. As the way of transforming real life into stage space is expressed, it is likelya working of transition for a typed text into a play. It is the process oftransition in an art form from the physical world. What is the difference betweenscenes of reality and pictures? How are the mutual relations between realities inlife and sceneries on stage interconnected seamlessly? Although these questionswould be interpreted depending on the perspective of each theatre practitioner, itis obvious that the inquiry is related with the concept of mimesis. The essentialis to distinguish authenticity between reality and picture. It is not easy to figure out which one is the truth of reality through picture, painting, novel, drama or soon. As a matter of fact, it would not be shortly discussed as it has been alwaysargued in history. The process of transition from the original contents is normally measured independing on the quality of the depth of truth in the original. It is the samecase that people consider painted portraits, depending on the fidelity of physicalreality in the original version. This transition is applied to justify other genressuch as television dramas, movies and plays for instance. However, the conceptof fidelity is not related with the exterior look of the artistic expression whenpeople measure the translated materials into another genre. Instead, they questionwhether to effectively portray a key concept of the original into the transitionalversions. The environment of multi-modern society urges to introspect theirheritages. The theatre as a representative art form is likewise no exceptional fromthis urge. The transformation of the presentation style in modern theatres can beobserved without difficulties.