“우리는 변하는 걸까요?” —『막간』의 야외극과 문학적 실천
“Do We Change?”: The Pageant Play and the Politics of Literature in Between the Acts
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Closely looking at the function of the pageant-play, this paper explores the ways in which Virginia Woolf’s Between the Acts moves beyond being an antifascist, feminist, pacifist political statement by containing a more inclusive and liberatory historical drama. As a governing metaphor for life and history as well as the novel’s central event, the pageant-play plays a crucial role in disclosing how political leaders at the time of the Second World War instigated a sense of collective identity and misguided hero-worship in the public to get them to endorse hideous forms of violence. Given the political climate of the 1930s, the novel suggests that this sense of the collective identity, promoted by both fascists and anti-fasists within and without England, is particularly problematic because it makes the masses—consciously or unconsciously, directly or indirectly—participate in the oppression of people forced outside the imaginary and physical territory of “us.” While the novel constantly stresses the audience’s identification with and admiration of the wrong hero, indicating their complicity and responsibility, it nonetheless refrains from depicting the audience as an unthinking or fanatical mass. Instead, the novel recognizes and exploits the subversive potential of the pageant-play as an art form that is dependent upon collaboration with the audience and/or reader. Inasmuch as members of the audience play a part in making the drama, they can also decide not to admire but to deride the hero or to turn their back to the stage. In addition, through the moments when the pageant-play fails to enact the dictates of the writer-director, the novel draws attention to its own subversive mode, namely its capacity to open up a critical interstice within the hegemonic system. Centering around notions of the actor, spectator, and writerdirector, the relentless fight with “subconscious Hitlerism” in Between the Acts restores to readers the capacity to abhor violence and feel empathy with others. Above all, it urges readers to recognize their own desires and longings, thereby awakening them to their “unacted part”— the part that has been repressed and/or oppressed in a world that madly seeks to justify and perpetuate injustice, violence, and war.
Abstract
Closely looking at the function of the pageant-play, this paper explores the ways in which Virginia Woolf’s Between the Acts moves beyond being an antifascist, feminist, pacifist political statement by containing a more inclusive and liberatory historical drama. As a governing metaphor for life and history as well as the novel’s central event, the pageant-play plays a crucial role in disclosing how political leaders at the time of the Second World War instigated a sense of collective identity and misguided hero-worship in the public to get them to endorse hideous forms of violence. Given the political climate of the 1930s, the novel suggests that this sense of the collective identity, promoted by both fascists and anti-fasists within and without England, is particularly problematic because it makes the masses—consciously or unconsciously, directly or indirectly—participate in the oppression of people forced outside the imaginary and physical territory of “us.” While the novel constantly stresses the audience’s identification with and admiration of the wrong hero, indicating their complicity and responsibility, it nonetheless refrains from depicting the audience as an unthinking or fanatical mass. Instead, the novel recognizes and exploits the subversive potential of the pageant-play as an art form that is dependent upon collaboration with the audience and/or reader. Inasmuch as members of the audience play a part in making the drama, they can also decide not to admire but to deride the hero or to turn their back to the stage. In addition, through the moments when the pageant-play fails to enact the dictates of the writer-director, the novel draws attention to its own subversive mode, namely its capacity to open up a critical interstice within the hegemonic system. Centering around notions of the actor, spectator, and writerdirector, the relentless fight with “subconscious Hitlerism” in Between the Acts restores to readers the capacity to abhor violence and feel empathy with others. Above all, it urges readers to recognize their own desires and longings, thereby awakening them to their “unacted part”— the part that has been repressed and/or oppressed in a world that madly seeks to justify and perpetuate injustice, violence, and war.
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