계급의 비극: 게리 오웬의 『로미오와 줄리』 속 셰익스피어 변주
A Tragedy of Class: Variations on Shakespearean Themes in Gary Owen’s Romeo and Julie
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Centering on two working-class teenagers in Wales, Gary Owen’s 2023 play, Romeo and Julie, is a contemporary adaptation of Shakespeare’s tragedy, Romeo and Juliet. This article argues that Owen rewrites Shakespeare’s tragedy of love into a tragedy of class. In particular, Owen introduces two working class families in Splott, one stereotyped as “underclass” due to single parenthood and alcoholism and the other representing the “aspiring” working class desiring class mobility through education. Both Romy’s and Julie’s families are equally influenced by neoliberal ideology that emphasizes individual responsibility and competence. Thus, while not as hostile as in Shakespeare’s play, these two families symbolize two contrasting images of working-class life, which are artificially molded and judged as either a failure or an ideal by neoliberal standards. Owen’s work does not end tragically with the young lovers’ death; yet, by showing their two separate life paths, one remaining in Splott as a single dad and the other leaving for Cambridge for her education, the play lays out the impetus for working-class tragedy wherein the two characters do not come together to make a happy family.
Abstract
Centering on two working-class teenagers in Wales, Gary Owen’s 2023 play, Romeo and Julie, is a contemporary adaptation of Shakespeare’s tragedy, Romeo and Juliet. This article argues that Owen rewrites Shakespeare’s tragedy of love into a tragedy of class. In particular, Owen introduces two working class families in Splott, one stereotyped as “underclass” due to single parenthood and alcoholism and the other representing the “aspiring” working class desiring class mobility through education. Both Romy’s and Julie’s families are equally influenced by neoliberal ideology that emphasizes individual responsibility and competence. Thus, while not as hostile as in Shakespeare’s play, these two families symbolize two contrasting images of working-class life, which are artificially molded and judged as either a failure or an ideal by neoliberal standards. Owen’s work does not end tragically with the young lovers’ death; yet, by showing their two separate life paths, one remaining in Splott as a single dad and the other leaving for Cambridge for her education, the play lays out the impetus for working-class tragedy wherein the two characters do not come together to make a happy family.
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