『타이터스 앤드로니커스』에서 폭력적 세계의 연출
Theatrical Exposition of Violence in Titus Andronicus
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This paper explores the theatrical exposition prevalent in the modern theaters as a route to rendering the violences depicted in Titus Andronicus, a controversial early Shakespearian play. It traces historical contexts in which the play was born against rival revenge tragedies of the Elizabethan period,becoming one time popular and then denigrated, ridiculed and ignored, before coming back as an example of theatrical rejuvenation in recent years. The gist of the paper distinguishes three modes of exposition relevant to staging the seemingly unbound variety of violences. On the top is the ‘stylized’mode gaining recognition after Peter Brook’s monumental production was brought forward in 1955. Enriching the expository repertoire next is the ‘realistic, natural’ mode taking shape as an alternative. The third mode is reviewed under the designation of ‘post-modern, eclectic’ approach. The discourse addresses staging techniques, stylistic features and artistic flavors germane to each mode, drawing on representative productions put forward over the past 50 years into the Anglo-American theaters. Examples of indigenous Korean-language production were also reviewed in their own light.
Abstract
This paper explores the theatrical exposition prevalent in the modern theaters as a route to rendering the violences depicted in Titus Andronicus, a controversial early Shakespearian play. It traces historical contexts in which the play was born against rival revenge tragedies of the Elizabethan period,becoming one time popular and then denigrated, ridiculed and ignored, before coming back as an example of theatrical rejuvenation in recent years. The gist of the paper distinguishes three modes of exposition relevant to staging the seemingly unbound variety of violences. On the top is the ‘stylized’mode gaining recognition after Peter Brook’s monumental production was brought forward in 1955. Enriching the expository repertoire next is the ‘realistic, natural’ mode taking shape as an alternative. The third mode is reviewed under the designation of ‘post-modern, eclectic’ approach. The discourse addresses staging techniques, stylistic features and artistic flavors germane to each mode, drawing on representative productions put forward over the past 50 years into the Anglo-American theaters. Examples of indigenous Korean-language production were also reviewed in their own light.
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