고연옥 희곡의 신화적 상상력과 해체적 신화쓰기

Abstract

This study examines the methodology and meaning structure of mythology re - writing in the plays of Go, Yeon-Ok. The playwright who has been steadily exploring the problem of salvation, the problem of evil, the contradiction of human nature and society has recently expanded the world of the drama into a more fundamental and universal world by utilizing mythical material and motifs. Her method of rewriting mythology is not the level of translation that translates the story of myth into the story of our time, but creates new forms and contents by dismantling the plot or form of myth. It is to dissolve and reinterpret mythical narrative, characters, and meaning structure in contemporary social and cultural context while accepting mythical thought or symbolic system to create a new myth with current meaning and value. For that reason, her re-writing of the deconstructed myth is a creation of a living myth that has the current meaning and is a re-creation of an allegory mirror that reflects modern society. Her rewriting takes the narrative structure of the "hero's journey", the universal structure of the hero myth, but dismantles mythical narratives and rewrites them into fantasy narratives condensed with modern social problems. The most prominent feature is the acceptance of the mythical imagination and thought of the mythical fantasy, the homology of dream and myth, the circularity of beginning and end, and organic cosmology. Underground Living People and Father in the Sheath express the fantasy and the archtype images of unconsciousness by composing the entire narrative into a dream structure. They also depict the metaphysical thinking of the circulation of life and death, dream and reality, as well as the human nature and contradictions of society that continue evil. In Underground Living People she depicts the crowd choosing evil without guilt consciousness, and in Father in the Sheath she presents a counter-myth in which the evil of the world is constantly produced by the material desire of the vested interests. The hero of the myth returns with the salvation of the world, but in her plays the evil of the world is a system that is so solid that it is returning the hero who is bound to fail. Tomorrow I'm River represents ecologicalist thought that all existence of the universe is organically connected. Thus, the mythical plays of Go, Yeon-Ok's show the aesthetics of acceptance and creation.