여성들의 무대 위에서 셰익스피어 다시쓰기
Rewriting Shakespeare on Women’s Stages
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Rewriting Shakespeare on Women’s Stages Abstract Na-young Kim This paper studies three modern plays that rewrite Shakespeare’s texts from women’s points of view: Desdemona: A Play about a Handkerchief by Paula Vogel, Goodnight Desdemona (Good Morning Juliet) by Ann-Marie MacDonald, and Lear’s Daughters, a collaborative work of Elaine Feinstein with the Women’s Theatre Group (WTG). First of all, this study defines rewriting as the differentiated repetition with the intention of challenging historical assumptions. According as how each play makes the structural relation with the original plot, the mode of rewriting is classified into three types: the intra-textual rewriting, the inter-textual rewriting and the extra-textual rewriting. Each type shows the possibility of transforming Shakespeare’s characters and plots as well as of reinterpreting his texts from various angles. Another important strategy is the use of theatricality. A variety of staging devices are used to reconstruct the written text, allowing the freedom of encoding and decoding theatrical signs. Therefore, rewriting Shakespeare on the basis of theatricality makes it possible not only to recognize the historical sense of contemporary issues including feminist ones, but also to suggest the possibility of making changes even in real life. It is this multiplicity and changeability that these plays intend to show by rewriting Shakespeare on women’s stage.
Abstract
Rewriting Shakespeare on Women’s Stages Abstract Na-young Kim This paper studies three modern plays that rewrite Shakespeare’s texts from women’s points of view: Desdemona: A Play about a Handkerchief by Paula Vogel, Goodnight Desdemona (Good Morning Juliet) by Ann-Marie MacDonald, and Lear’s Daughters, a collaborative work of Elaine Feinstein with the Women’s Theatre Group (WTG). First of all, this study defines rewriting as the differentiated repetition with the intention of challenging historical assumptions. According as how each play makes the structural relation with the original plot, the mode of rewriting is classified into three types: the intra-textual rewriting, the inter-textual rewriting and the extra-textual rewriting. Each type shows the possibility of transforming Shakespeare’s characters and plots as well as of reinterpreting his texts from various angles. Another important strategy is the use of theatricality. A variety of staging devices are used to reconstruct the written text, allowing the freedom of encoding and decoding theatrical signs. Therefore, rewriting Shakespeare on the basis of theatricality makes it possible not only to recognize the historical sense of contemporary issues including feminist ones, but also to suggest the possibility of making changes even in real life. It is this multiplicity and changeability that these plays intend to show by rewriting Shakespeare on women’s stage.
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