셰익스피어 극의 영화각색: 코진체프의 <햄릿>과 <리어 왕>
Kozintsev's Filmic Adaptation of Shakespeare's Plays: Hamlet and King Lear
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In Kozintsev’s Hamlet (1964) and King Lear (1970) plot, characters, sounds, images, and mise-en-scène are saturated in a Slavic sensibility made up of Boris Pasternak’s translation of Shakespeare script and Dmitri Shostakovich’s orchestral score. With black and white photography, two films are shot in epic 70mm wide-screen Sovscope, which allows the colossal scale of action in the rhythmic interchange of solemnity and anxiety. Through recurring key imageries of fire, sea, and stones, he creates moral landscapes for his two films. More than anything else, a mass of human beings on the move achieves extraordinary power and physically tensed rhythm. Kozintsev’s Hamlet portrays the conflict-ridden tragic hero who does not find himself on the border between life and death and between sanity and insanity. His refusal to sit on the throne to become monarch as he dies suggests ironical heroism. Opening image returns in the end, yet the cyclical structure of the film bears the contradictoriness of both Hamlet and the larger historical pattern. In King Lear Kozintsev’s strategy achieves the effect which makes Shakespeare’s tragic vision grow to span generations and an entire social order. Although the world of King Lear portrays the disastrous effects of division, dissolution, and disintegration, Kozintsev sheds hopeful light on the human condition with a potential of social renewal. His ethical optimism protests against the cyclical view of life without possibility of change. In the two films Kozintsev searches for more concrete reality and a deeper structure in order to find the inner connections between people, nature, and history itself. Whereas Kozintsev’s Hamlet conveys the tragic vision which suggests the tragic hero’s noble spirit sealed in history, the narrative of King Lear cannot be separated from the tracing of the historical process.
Abstract
In Kozintsev’s Hamlet (1964) and King Lear (1970) plot, characters, sounds, images, and mise-en-scène are saturated in a Slavic sensibility made up of Boris Pasternak’s translation of Shakespeare script and Dmitri Shostakovich’s orchestral score. With black and white photography, two films are shot in epic 70mm wide-screen Sovscope, which allows the colossal scale of action in the rhythmic interchange of solemnity and anxiety. Through recurring key imageries of fire, sea, and stones, he creates moral landscapes for his two films. More than anything else, a mass of human beings on the move achieves extraordinary power and physically tensed rhythm. Kozintsev’s Hamlet portrays the conflict-ridden tragic hero who does not find himself on the border between life and death and between sanity and insanity. His refusal to sit on the throne to become monarch as he dies suggests ironical heroism. Opening image returns in the end, yet the cyclical structure of the film bears the contradictoriness of both Hamlet and the larger historical pattern. In King Lear Kozintsev’s strategy achieves the effect which makes Shakespeare’s tragic vision grow to span generations and an entire social order. Although the world of King Lear portrays the disastrous effects of division, dissolution, and disintegration, Kozintsev sheds hopeful light on the human condition with a potential of social renewal. His ethical optimism protests against the cyclical view of life without possibility of change. In the two films Kozintsev searches for more concrete reality and a deeper structure in order to find the inner connections between people, nature, and history itself. Whereas Kozintsev’s Hamlet conveys the tragic vision which suggests the tragic hero’s noble spirit sealed in history, the narrative of King Lear cannot be separated from the tracing of the historical process.
참고문헌 (21)
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