퍼포먼스 텍스트로서의 <십이야>와 <타이투스 앤드로니커스>

Abstract

Performance texts foreground the presence and shared experiences between actors and audiences to a greater extent than representation and communicated experiences. Furthermore, performance texts become largely presentational. This thesis positions <Twelfth Night>, directed by Yang Jeongung, and <Titus>, directed by Yun Sijung, as performance texts and analyses their characteristics. <Twelfth Night> centralizes the presence of actors and their shared experiences, as well as the energy shared between the stage and the audience. At various points, fictional drama combines with non-dramatic reality. Male actors portray the roles of females, and subsequently, audiences gain an awareness of the male ‘bodies’ of these actors. In these instances, presence becomes more significant than representation. In <Titus>, the barriers blocking the audience and the stage often disappear, and audiences become the cast and sometimes writers. Scenes of cruelty, in which many characters experience torture and murder, focus attention on the bodies of the actors. Subsequently, the audience and the stage develop shared experience, and fictional representation in the plot loses significance in comparison to the presence of ‘bodies’ of actors.