탈경계적 글쓰기: 크림프(Martin Crimp)의 <그녀의 삶에 대한 시도들>(Attempts on her Life)에서 본 시네마토그라피적 글쓰기

Abstract

Since the 1990s, postmodern performance or postdramatic theatre have explored the possibility to present the real here and now. Their methodologies focused on the way how to reject the conventional representation and its dramatic form or subvert them. Instead, they have struggled with the limits of the representation or with the new visual images employing the media. Here arose the problems. They would consciously or unconsciously have ignored the social reality being immersed with creating or mixing audio-visual images. At the same time, they were suppressing playwright's earnest creative writing. In this situation, writing for the performance faced a crisis to survive. Cross-boundary writing could lead to an escape route. Writing for the performance had to face the present theatrical condition that the theatre performance was intentionally marginalizing the writing practice. This paper suggests to cross the boundary, to overcome the limits, and to innate the social reality within theatrical frames as well as critical perspectives. If directors or practicers are suppressing the writing, then what is the alternative? How can the writing achieve the literary, performative, and media mediated writing?This paper suggests the cross-boundary writing method could be an option to be taken by to disturb, to escape, and to enlarge the boundaries. Nonetheless, the concept as the words implicated could be an empty slogan because it could not define its form and its limit. So, it would be useful to explore its possibility by analyzing the text as an example. Though, it could not but provide one directional possibility rather than comprehensive ones. This paper has chosen Crimp's Attempts on her Life as an example focusing on the stylistic characteristic and cinematographic writing. As a result, this paper found the possibilities; multiple scenes could be constructed as a collage; fragmented narratives could be mixed within the montage; narrator could build the characters in their verbal space; the characters freed from the representation could achieve schizophrenic and could transform their egos; the alienation between the text and the stage could open the possibility of the performance; the audience could posit themselves as a conscious and recognizing subject; the reality could be inserted within the fragmented phrases or the scenes.