탈식민주의 『태풍』 공연: 샘 멘디즈의 공연을 중심으로

Abstract

A number of critics have criticized any postcolonial approach to the production of The Tempest on the ground that stressing such a single political theme may distort the play's overall meaning, reduce its multiplicity of suggestiveness, or diminish its multifaceted brilliance. This paper argues that a postcolonial production of The Tempest has many unique merits of its own, especially in terms of character portrayals. As can be found in Sam Mendes' 1993 production of The Tempest, the postcolonial approach can reveal the psychological depth of the play's major characters, developing them from monotonous types to complex individuals. In addition, it can enhance their character motivation and credibility by keeping their natures and actions in thematic unity under postcolonialism throughout the play. As in Mendes' case, a postcolonial production of The Tempest can also reveal the play's hidden meanings, present its multiple themes, and achieve its various effects. The pessimistic resolution of Mendes' production is in accord with the play's subtext that betrays irony and ambiguity despite the text's superficial happy ending. Moreover, Mendes' postcolonial production includes the play's many other themes such as political power struggle, theatrum mundi, mutability, education, and Christian forgiveness. Furthermore, Mendes' postcolonial production of The Tempest fully demonstrates the play's diverse virtues by achieving such various effects as comicality and theatricality while highlighting the postcolonial theme. On the whole, the postcolonial approach to The Tempest is a fresh attempt to show the play anew increasing its modern relevance, but without diminishing its many-sided values.