전후 영국극에 나타난 탈제국주의 상황과 폭력
Postimperial Condition and Violence in Postwar British Drama
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Abstract
This article examines the ways in which the new generations of postwar British playwrights represent the postimperial condition which informs the postwar English society after the collapse of the British empire. Devolution and concomitant national atrophy provoked a variety of responses from "the angry young men"--from a deep grief and nostalgia to despairing anger at the loss of the empire. John Osborne represents their "anger" in his pivotal play Look Back in Anger, in which Jimmy spouts off complex feelings of imperial nostalgia and passionate rage at social stasis. The play emblematizes the postwar stage's responses to postimperial condition, and whether "in anger" or with nostalgia, postwar playwrights dramatize the British empire which is at the center of their political unconscious. Some of the more politically oriented playwrights, however, launch scathing criticism of the attempt to reconfigure English identity as "exclusionary of its colonial wards." The notion of white Englishness, as these writers claim, entails racism against non-European people. These writers demonstrate that violence is an integral part of their postimperial experience. Bond's Lear takes issue with the discursive constitution of "enemies" underlying Lear's preoccupation with safeguarding the nation. His "enemies" in post-devolution England are to be construed as the immigrants from former British colonies. Brenton similarly demystifies English identity in The Romans in Britain. The complex story of invasions and resistance played out on the British islands that have been home to the Celts and the Saxons debunks the concept of pure Englishness. Bond and Brenton suggest that the effort to redefine the character of postimperial England can be cruel to the Other, and in doing so they use graphic images of violence to underscore the theme. Kane uses equally crude imagery in dramatizing the relationship between identity and violence. Blasted presents scenes in which both personal and national identity boundaries are literally "blasted" by violence and claims that the spectator should learn from former Yugoslavia about the violent nature of the quest for identity premised on racism.
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