봉인된 무대로부터의 해방 -포스트소비에트 연극의 새로운 관객과 유하나노프의 과정성의 연극

Abstract

The history of the play has been the process of separating the stage from the audience and sealing itself. The perspective device of the proscenium stage made during the Renaissance was designed for the audience's illusion on the performance space. Since then, reproduction has been a key issue in theater creation. The sealed stage worked on various ways to create an illusion to believe that the audience was real. Appearing with a 19th-century realism play, the box stage seemed to succeed in completely separating the stage from the audience through the fourth wall. But the process of sealing the stage from the audience triggered a move to liberate the sealed stage back into the square, or life. We can easily see that it was the dialectical evolution of theater in the 20th century through the experiments and innovations of theater in the last century. It was around the political and social upheaval of the perestroika when movements were detected that could become a new ignition point for contemporary Russian plays in doubt of the customary boundaries between the stage and the audience, though it was not as much as the result of avant-garde artists in the 1920s. In addition, the new theatrical public-audience, who appeared in the post-Soviet society, was the ultimate reason for the Russian play to have the problem of liberating the sealed stage. It is also true that the recent emergence of notable performances, where new theatrical public-audience ready to transform themselves into active creators are made to actively participate in the process of liberating the sealed stage, seems a bit late compared to Western Europe's aspects. But this is worth more than a physical change when viewed in the context of Russian theater history as the mainstay of modern theater history for 100 years, with the keywords of the Moscow Arts Theater that is a symbolic space, a sealed stage, a realistic play, and a director-centered play. Based on the analysis of the public that emerged as the new consumer of Post-Soviet plays, this study will look at the process of dismantling the sealed stage triggered by them and study how the problems of audience participation and mutual communication are developed in the contemporary Russian play. The major object of the study is Yuhananov's recent work, which proclaims a creative method called a play with a new process, along with the opening of the Stanislavsky Electrotheatre, and makes the audience the subject of the play-project a key research. Further, the study will examine instances of breaking up the sealed stage of the contemporary Russian play brought by the public of Post-Soviet play and analyze the works of Yukhananov before and after the perestroika. This will make it possible to secure a basis for examining a contemporary Russian play in terms of the process of dismantling of the sealed stage.