탈구조주의적 병렬구도의 메타연극무대의 난독성 -『꿈 연극』, 『카미노 리알』, 『트루 웨스트』, 『엠. 나비』. 『올리아나』를 중심으로-
The Obfuscation of the Meta-Theatrical Stage in Poststructural Parallel Structure – Centering A Dream Play, Camino Real, True West, M. Butterfly, and Oleanna -
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This paper focuses on such expressionistic and absurd, hyper-realistic and obfuscated meta theatrical stages that show the repetitive confliction and violence between two opposite habitus classes through poststructural parallel structure. These dreamlike image processing techniques of Pinter’s and Beckett’s have created movie-like contrapuntal circular chaos networks with the flashback and forwordflash based on montage and mosaic. The anti-realistic writers like A. Strindberg, T. Williams, S. Shepard, D. H. Hwang, and D. Mamet strive to destroy and deconstruct the authority and fabrication of the hierarchical society established and manipulated by father’s imaginary normative signifiants in modernism and postmodernism. Their representative wordgame-like meta-theatrical, poststructural dramas, like A Dream Play, Camino Real, True West, M. Butterfly, and Oleanna reveal the tension and suffering in contact and communication among socially blind characters, who are overusing and repeating such functional and technical words as tongueslip, assertiveness, justification, fib, obfuscation, stuttering, oblivion. The sadistic and masochistic word-expert characters of both sides of habitus class are not interested the solution to settle down the contradiction and violence derived from parallel structure of social powers. They have just seen the situations with the copied eye from the others who would uncontrollably copy the other‘s language, the imaginary object of unconscious desire, Phallus without intuition, insight, and dionysian puissance for the sympathy and free contact.
Abstract
This paper focuses on such expressionistic and absurd, hyper-realistic and obfuscated meta theatrical stages that show the repetitive confliction and violence between two opposite habitus classes through poststructural parallel structure. These dreamlike image processing techniques of Pinter’s and Beckett’s have created movie-like contrapuntal circular chaos networks with the flashback and forwordflash based on montage and mosaic. The anti-realistic writers like A. Strindberg, T. Williams, S. Shepard, D. H. Hwang, and D. Mamet strive to destroy and deconstruct the authority and fabrication of the hierarchical society established and manipulated by father’s imaginary normative signifiants in modernism and postmodernism. Their representative wordgame-like meta-theatrical, poststructural dramas, like A Dream Play, Camino Real, True West, M. Butterfly, and Oleanna reveal the tension and suffering in contact and communication among socially blind characters, who are overusing and repeating such functional and technical words as tongueslip, assertiveness, justification, fib, obfuscation, stuttering, oblivion. The sadistic and masochistic word-expert characters of both sides of habitus class are not interested the solution to settle down the contradiction and violence derived from parallel structure of social powers. They have just seen the situations with the copied eye from the others who would uncontrollably copy the other‘s language, the imaginary object of unconscious desire, Phallus without intuition, insight, and dionysian puissance for the sympathy and free contact.
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