<줄리엣의 정원에서> 셰익스피어를 기다리며: 셰익스피어의 여성과 여성들의 셰익스피어

Abstract

This essay explores the ideas and genealogies of trans-historical sisterhood represented through the Shakespearean adaptation, In Juliet’s Garden. The play presents an imaginary meeting of major female characters from five different Shakespeare’s plays; Juliet, Portia, Desdemona, Ophilia, and Katerina. The main purpose of the meeting is to confront the playwright and deliver their complaints regarding their individual tragic cases. The simple and straightforward plot line of the play may attract criticism for its naive escape from the feminist issues often addressed in relation to contemporary as well as historical social problems. This essay, however, views the play as a playful commentary on the paths that Shakespearean feminism has traversed in the name of “Women’s Shakespeare.” In addition to empowering women’s perspective and interpretative activities with Shakespeare’s texts, the play adapts the theatrical tradition of trans-historical sisterhood, as seen in Caryl Churchill’s Top Girls and the Pageants of the women’s suffrage movement. As the ideal of female solidarity crossing the boundaries of historical, social, and cultural differences is revealed to be transient since the suppressed differences return to claim their places, In Juliet’s Garden demonstrates the growing discord that arises once the characters begin their conversation. However, the major female characters ultimately find peace of mind when they realize their identity as players on stage for more than 400 years, affecting people’s lives. In Juliet’s Garden provides the stage and theatrical identity as an exit not only for the stressed characters but also for the struggling feminist critics.