미들튼의 <마녀>를 통해 본 마술의 연극적 재현
Theatrical Representation of Witchcraft in Middleton's The Witch
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본 연구는 자코비안 마녀극인 미들튼의 <마녀>(1613-1616)를 통해서 극장의 안과 밖, 현실과 상상 속의 마술 담론들이 상호 교차하면서 어떻게 극장 무대에 마술이 재현되었는가를 살펴보고자 한다. 근세 초 마녀 재판의 광기가 잦아들면서 영국의 연극 무대에 마녀극이 유행하기 시작하였는데 극작가들은 사회적, 심리적으로 여전히 공포와 위협을 안겨주는 마술을 문화적으로 재해석하면서 무대에 재현하였다. 마녀를 규정하던 핵심 개념인 여성의 성적 특질, 그리고 악마와의 성적인 연회인 사바스가 마술의 재현에서 중심에 위치하였다. 극작가들은 마술을 범죄에서 축제에 이르는 다양한 스펙트럼의 어딘가에 위치시켜 바라보기 시작했고, 그 과정에서 여성의 육체와 젠더, 그리고 극장이라는 문화적 공간은 카니발적 속성을 부여받으면서 정치, 종교, 사법적 권위가 엄격하게 규정한 도덕률에 근원적인 질문을 제기하는 역할을 담당하게 되었다. 마녀극은 마술의 사용 주체로서 마녀가 주인공으로 등장하는 극을 말한다. 본 연구는 남성 마법사가 아닌 마녀에 국한시켜 논의를 전개한다. 그 이유로는 마녀 재판에서 남성 피의자들은 여성 피의자들에 비해 상대적으로 미미한 숫자를 차지했기 때문이기도 하지만 보다 중요하게는 여성 피의자들은 종종 재판정을 무대 삼아서 마녀의 역할을 연기하면서 관객들에게 자신들의 존재감을 드러냈기 때문이다. 이러한 그녀들의 행동은 마술이 연극 무대에 재현될 때의 파급력과 더불어 마녀 재판과 연극의 친화성을 일깨워준다. 또한 극작가들 역시 연극 무대에서 남녀 마술사를 다른 방식으로 재현했는데 대체로 남자 마술사들은 책과 지식을 통해서, 반면 마녀들은 육체의 감각과 본능, 주문과 춤, 노래 혹은 사바스의 유대감 등을 통해서 마술적 지혜를 전수한다. 연극 무대에 재현된 마술은 두렵지만 매혹적인 미지의 세계를 표상하면서 우리 사회의 강력한 문화적 상징체계들 중의 하나로 진화하였다. 그리하여 마녀극에서 마술은 공포와 더불어 신비하고 유혹적인 힘을 갖는 것으로 재현되었고 이런 모순된 힘들의 통합이 마녀극의 특징이 된다.
Abstract
This study aims to analyze the way witchcraft was represented in Middleton's The Witch, a Jacobean witch play, and how it was performed on stage interweaving various witchcraft discourses prevalent in both real and imaginative world, within and without public theatres. As the madness of witch trials came to decline in the early modern period, witch plays prevailed on the Renaissance stages and playwrights ventured to reinterpret the practice of witchcraft in terms of cultural discourses, which still threatened contemporary people with fear in social as well as in psychological areas. Some of the representative attempts were their radical readings of the concept of female sexuality which was appropriated as the means of identifying witches and of sabbath, an orgy presided by Satan, the master of witches. In the mean time, playwrights tried to set the practice of witchcraft on the spectrum somewhere between criminality and a carnival. Female body, gender and theatre as a cultural space were endowed with carnivalesque properties in such a process and gradually took on a significant role in raising subversive questions about strict moral orders imposed by the political, religious and judicial authorities. A witch play denotes a drama that features a/the female witch(es) as a/the main character(s) who “positively” manipulate(s) witchcraft. This study focuses exclusively on a female witch as an agent of witchcraft for the following reasons. Firstly, in witch trials in the early modern period, the number of the male accused on the suspicion of witchcraft was far smaller than that of the female ones. More importantly, it was not uncommon for the female suspect took the court as a stage and strategically played the role of a witch as a way of self-fashioning themselves as a powerful woman. This tells us something about the theatricality of witch trials and witchcraft of the theatre practices. In addition, in witchcraft plays, the way a female witch was represented was essentially different from that of male ones. Male magicians pass on their secret wisdom by means of books and knowledge while female witches through their bodily senses, instincts, charms, dances, songs and a solidarity secured by sabbath rituals. Embodying the unknown dreadful but alluring and captivating world, the witchcraft represented in witch plays like The Witch has evolved into one of the most influential cultural symbolic systems in our society. Thus, witch plays with such a female magician as a heroine portray witchcraft as holding contradictory power, which is terrifying but mysterious and seductive at the same time.
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