아이스퀼로스(Αἰσχυλος)의 극장정치에 관한 연구: 『아가멤논』(Ἀγαμεμνων)과 『페르시아인들』(Περσαι)을 중심으로
A Study on Aeschylus’ Theatrokratia in Agamemnon and Persians
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In terms of theatrokratia, politics of theatre, this paper tries to analyze an Orientalist discourse, focusing on how Aeschylus’ theatre justifies the hegemony of polis Athenai, and furthermore mystifies it. The theatre works as a ritual space for divinities, a disciplining space for citizens, and a political space for rulers as well. In the 5th century BC classical Greece was waging a series of wars, especially the Persian Wars, later the Peloponnesian Wars, with political conflicts either between conservatives and radicals internally, or among Hellenic countries resulting from or in the wars. Accordingly, Aeschylus’ theatre was so political as to marginalize the Oriental other Persia and the Orient-rooted other Argos as well. Into the political space, Agamemnon and Xerxes enter as an effeminate (anandros) other having no power of government (akratos), lacking self-control (akrateia). In contrast, female characters Clytemnestra and Atossa appear manly(andros), with their roles reversed, which does not feature feminism, but Oriental otherness. Remarkably, the Oriental otherness juxtaposed with hybris and insanity (ate) accounts for their impious and reckless wars, and furthermore unfortunate fates. Their cities, Sousa and Argos, are also feminized (kenandros) and open to colonial imagination, with ‘veils of an Eastern bride’ waiting for conquerors’ touch. This kind of marginalization is the very strategy for the political theatre to justify the hegemony of polis Athenai. By putting the Oriental despotism onto the other side of impiety, the theatre tries to mark divine the democratic ideal of polis Athenai.
Abstract
In terms of theatrokratia, politics of theatre, this paper tries to analyze an Orientalist discourse, focusing on how Aeschylus’ theatre justifies the hegemony of polis Athenai, and furthermore mystifies it. The theatre works as a ritual space for divinities, a disciplining space for citizens, and a political space for rulers as well. In the 5th century BC classical Greece was waging a series of wars, especially the Persian Wars, later the Peloponnesian Wars, with political conflicts either between conservatives and radicals internally, or among Hellenic countries resulting from or in the wars. Accordingly, Aeschylus’ theatre was so political as to marginalize the Oriental other Persia and the Orient-rooted other Argos as well. Into the political space, Agamemnon and Xerxes enter as an effeminate (anandros) other having no power of government (akratos), lacking self-control (akrateia). In contrast, female characters Clytemnestra and Atossa appear manly(andros), with their roles reversed, which does not feature feminism, but Oriental otherness. Remarkably, the Oriental otherness juxtaposed with hybris and insanity (ate) accounts for their impious and reckless wars, and furthermore unfortunate fates. Their cities, Sousa and Argos, are also feminized (kenandros) and open to colonial imagination, with ‘veils of an Eastern bride’ waiting for conquerors’ touch. This kind of marginalization is the very strategy for the political theatre to justify the hegemony of polis Athenai. By putting the Oriental despotism onto the other side of impiety, the theatre tries to mark divine the democratic ideal of polis Athenai.
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