셰익스피어와 수감자들: 『줄리어스 시저』를 중심으로
Shakespeare and Prisoners: The Case of Julius Caesar
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This paper discusses Shakespeare’s reception in prisons, and gives Julius Caesar as an exemplary case. The discussion is focused on Shakespearean reading by Nelson Mandela in the maximum security prison of Robben Island in Cape Town, South Africa, and Paolo and Vittorio Taviani’s film about Shakespearean performance by the inmate actors in the maximum security prison of Rebibbia in Rome, Italy. It intends to stress that the story of Julius Caesar has resonance for those prisoners who are anxiously anticipating change and reestablishing a sense of identity, and that the prison reading and performance have a demonstration of why Shakespeare matters to them. Mandela’s reading is centered on Caesar’s speech on courage in the face of death. His choice is demonstrative of his grim determination that he has no fear of dying for what he believes in, that is, democracy and freedom for all South Africans. Furthermore he draws a lesson from the context of Caesar’s speech: the arrogantly charismatic leader easily succumbs to tyrannical power bringing on the collapse of the country. This explains why Mandela resolved to serve for only a single term as the first President of South Africa. In view of a prison performance the Tavianis’s Caesar Must Die can be seen as a reminder of what Mandela pays heed to. The movie begins and ends with the last moments of the conspirators. The Tavianis’s filmic approach highlights that the assassination of Caesar is undertaken to protect the republic, but turns out to destroy it. The sense of sharing between conspirators and inmate actors is strengthened as the former Roman world corresponds with the criminal world from which the latter comes. The use of the native Italian dialects works as a means of making Shakespeare contemporary and relevant for the inmate actors.
Abstract
This paper discusses Shakespeare’s reception in prisons, and gives Julius Caesar as an exemplary case. The discussion is focused on Shakespearean reading by Nelson Mandela in the maximum security prison of Robben Island in Cape Town, South Africa, and Paolo and Vittorio Taviani’s film about Shakespearean performance by the inmate actors in the maximum security prison of Rebibbia in Rome, Italy. It intends to stress that the story of Julius Caesar has resonance for those prisoners who are anxiously anticipating change and reestablishing a sense of identity, and that the prison reading and performance have a demonstration of why Shakespeare matters to them. Mandela’s reading is centered on Caesar’s speech on courage in the face of death. His choice is demonstrative of his grim determination that he has no fear of dying for what he believes in, that is, democracy and freedom for all South Africans. Furthermore he draws a lesson from the context of Caesar’s speech: the arrogantly charismatic leader easily succumbs to tyrannical power bringing on the collapse of the country. This explains why Mandela resolved to serve for only a single term as the first President of South Africa. In view of a prison performance the Tavianis’s Caesar Must Die can be seen as a reminder of what Mandela pays heed to. The movie begins and ends with the last moments of the conspirators. The Tavianis’s filmic approach highlights that the assassination of Caesar is undertaken to protect the republic, but turns out to destroy it. The sense of sharing between conspirators and inmate actors is strengthened as the former Roman world corresponds with the criminal world from which the latter comes. The use of the native Italian dialects works as a means of making Shakespeare contemporary and relevant for the inmate actors.
참고문헌 (22)
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