크롬웰의 공화정을 전후한 극장건축구조 변화에 따른 극적 담론과 공연방식의 차이:『안토니와 클레오파트라』와 『사랑을 위하여』사례연구

Abstract

Dramatic Discourse and Performance Style Difference by Architectural Changes of Theaters Between Before and After Cromwell’s Commonwealth Period: Case Study on Antony and Cleopatra and All for LoveSong, Won-Moon & Kwon, Hye-GyongRestoration theater companies desperately needed performance pieces which could satisfy the new tastes of Restoration theater goers. Since the theater-oppressing policy of the Commonwealth was harsh enough to destroy the glorious English theater tradition since Shakespeare, it was not easy to quickly develop fresh performance materials for the Restoration audience. The handy way to get dramatic works seemed to use the adapted versions of Shakespeare’s plays which had been proved to be huge box office success. They adapted most Shakespeare’s works for the Restoration stages. The adapted works looked similar with the original in their plots, but the subjects and the performance focuses were different from those of the original. Dryden’s All for Love, adapted from Shakespeare’s Antony and Cleopatra. was one of the representative adaptations for the Restoration. In All for Love, Dryden maintains similar stories about the historic incidents about Cleopatra and Antony, but the fundamental goal and method of performance was much different from those of Shakespeare’s.This paper deals with the differences of dramatic discourses and performance methods caused by the architectural structure changes of the theaters. The Globe, which was the representative model of theater building of the era, had the particular architectural structure for staging Shakespeare’s works. However, the structure of typical Restoration stage was totally different from that of the English Renaissance stage. This paper is to prove the difference in themes and performance goals between the two plays above are originated from the different theater structures.