오브제에 대한 기호학적 분석과 그 현상학적 보완 -네크로슈스의 <햄릿>, <맥베드>, <오델로> 분석을 중심으로-

Abstract

Eimuntas Nekrosius is a well known Lithuanian theatre director who belong to the post World War II generation. The unique and powerful Mises-en Scene of this director have been acclaimed nationally and internationally. His theatre also gave great impression on Korean theatre-goers during international theatre festivals in Seoul. Nekrosius is an exemplary proponent of a theatre in which a fusion of text and visual image is successfully achieved. Nekrosius and his company of actors invent energetic movement sequences and striking images especially by using various nature-oriented objects and materials such as water, ice, wood, iron, stone…. He presented three modernized Shakespearean stages, <Hamlet>, <Macbeth>, and <Othello> in Seoul during last ten years: in <Hamlet>, Nekrosius reinterpreted the young hero's guilty feeling by beautifully staging ‘falling rain’, ‘melting ice -chandelier’, ‘exploding water glass’ scenes; in <Macbeth>, he utilized varies shapes of wood to create the feeling of ‘life-ness’ or fertility, which was opposed by a pile of stones, or iron-made objects that imply death, or futility; in <Othello>, he connected the meaning of ‘the young’ with active stage moments, while ‘the old’ with stillness. This paper tried to understand the use of objects on three Shakespearean works of Nekrosius by applying both semiotic analysis and phenomenological approach. For the semiotic analysis three aspects were adopted. 1) Semantic aspect: To reinterprete Shakespeare by using varied objects on the stage, Nekrosius utilize opponent concepts such as moral/immoral, fertility/futility. young/old. 2) Rhetorical aspect: Nekrosius prefers metonymy to metaphor for his dynamic, material, and contextual directing and mis-en-scene. 3) Syntactic aspect: In using object as metonymy, Nekrosius produce various 'object-action's. Since the objects on the Nekrosius stage have sensory and materialistic quality as well as semiotic meanings, the phenomenological approach will be helpful to understand his work along with semantic analysis. The sensory and materialistic quality directly influence spectator's sense and body as well as their intelligence. The use of objects on Nekrosius stage also carry a quality of playing game and characteristics of performance such as spontaneity and interaction. These qualities of object also stimulate spectator participation in his theatre.