<경숙이 경숙아버지>에 나타난 경계성의 미학 - 아버지 부재와 경숙의 대응 양상을 중심으로

Abstract

This article aims to study how 'in-betweenness' in drama <Kyoongsuk, Kyoongsukiabuji> is dramatically projected in narrative perspective through dramatic techniques of expression and symbols. There's a main character Kyoongsuk at the center of narratives in <Kyoongsuk, Kyoongsukiabuji>. Kyoongsuk takes the role of narrator; inner speaker in the dramatic text and becomes a main agent who produces a narrative structure. The way this main character narrates is to bring her own past memories into present time dramatically and portraits them on the stage. Kyoongsuk passes her family stories to the audiences. Assuming 'narration is the way each every one perceives the world around them', her family narrative is the way of her comprehending herself through her family. In other words, the drama's inner communication structure, the narrator Kyoongsuk understands father while speaking of father and finds her own way to find the meaning of her family. In the sense that character who is the one of family members contrubutes to the establishment of narration, this drama can be comprehended as a family narrative which was necessarily needed in understanding Park Geun-Hyoung's drama. However, we can notice differences between this dram and Park Geun-Hyoung's narratives which we can find in his previous works. In Park Geun-Hyoung's previous works, a leak which came from his denial and dissolving traditional family ideology connotes the meaning required for rebuilding the family. On the contrary, the growth of women is more important than the meaning of family. In this perspective, the aesthetics of 'in-betweenness' the drama deals with most importantly can be found in different narrative characteristics than previous family narrative ones. 'In betweenness' in this drama functions as a narrative factor to expand its topic into ontological direction which puts more weights on each individual's life than the understanding of family by putting up a women growth matter in front. Referring Freud's Family Romance theory, Kyoongsuk's growth process starts from her family triangle consisting of father, mother, me. At each angular point, there're father who has wanderlust, mother who is devoted to her husband and Kyoongsuk. For the growth of women, not men, women's alterite is being magnified in male-dominant patriarchy. Women have been 'others' in dichotomous structure; men and women. In this sense, men's alterite creates a leak in the hierarchical family structure, not strengthens it. Even if father provides the root cause of that crack, this triangle is not falling down and keeps its form, supported by mother and me. Kyoongsuk accepts her situation losing the upper angular point father and reorganized family and furthermore, she is reborn as a main character who constructs her family. Accordingly, this article points out that complex family construction process found in Kyoongsuk's growth is a narrative reaction which enables her to understand her world through her father's triangular points, not a resistance to family structure itself. At this point, the aesthetics of 'in-betweenness' is being used as an important narrative tool in this drama. This article studies 'in-betweenness' in three aspects. The first part is regarding stage space and the second one is how characters are projected and the last one is thematic meaning. In more specific, firstly, this work's dramatic time has the structure of twofold; the past and the present. We will see how this structure will be described by Kyoongsuk's memory. Secondly, we will understand how Kyoongsuk's father is projected in the drama and find out his border-crossing characteristic. Thirdly, we will look into the meaning of family by reviewing each character who is re-consisting of the family.