오필리아와 가상의 꽃
Ophelia and the Imaginary Flowers
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Flowers have been used as important stage properties for the representation of Ophelia’s mental disorder. Because Ophelia’s mad speech and Gertrude’s report about her death are composed with visually sensitive words, one can easily imagine her giving flowers or making garlands by the stream. It should be reconsidered, however, to conclude that these lines are evidently implicit stage-directions for her to bring and distribute real flowers. It is questionable whether Ophelia has a firm relationship with flowers, and whether the various kinds of flowers mentioned in the text have to be accompanied by her during the stage representation. The major opinion about this matter has been that the flowers are real stage props, and that each flower is brought to each designated character. I make an objection to these interpretations in this paper, especially to Harold Jenkins’, with the consideration both of the dramatic situation and the original stage directions of the early editions. The proposition that the association of Ophelia and flowers is not real but fantastic not only corresponds with the text but also allows stage practitioners to achieve freer and more creative rendition of Ophelia’s insanity.
Abstract
Flowers have been used as important stage properties for the representation of Ophelia’s mental disorder. Because Ophelia’s mad speech and Gertrude’s report about her death are composed with visually sensitive words, one can easily imagine her giving flowers or making garlands by the stream. It should be reconsidered, however, to conclude that these lines are evidently implicit stage-directions for her to bring and distribute real flowers. It is questionable whether Ophelia has a firm relationship with flowers, and whether the various kinds of flowers mentioned in the text have to be accompanied by her during the stage representation. The major opinion about this matter has been that the flowers are real stage props, and that each flower is brought to each designated character. I make an objection to these interpretations in this paper, especially to Harold Jenkins’, with the consideration both of the dramatic situation and the original stage directions of the early editions. The proposition that the association of Ophelia and flowers is not real but fantastic not only corresponds with the text but also allows stage practitioners to achieve freer and more creative rendition of Ophelia’s insanity.
참고문헌 (42)
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