새로운 드라마를 위한 구상 -『길쌈쟁이들』에 관한 연구
New Conception of Drama - A study of The Weavers
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The literary value of the drama The Weavers (1891) by Gerhart Hauptmann is based on its inherent aesthetic modernity. Hauptmann refused to follow a unified and straight development of plot. The plot progresses slowly because most scenes in each act deliver the detailed description of the environment which torment the characters and their souls. The play has no individual heroes. In an unprecedented move, naturalism literature sought to break away from the restriction on the number of dramatis personae. The true hero of this play is weaver group collectively. The life of the lower class had never appeared as the main theme on the stage. The play’s dialogue emulates the rhythm, tone, and expression of ‘the language of real life’, with the naturalistic interest in reflecting reality. The Weavers is written in the Schlesien dialect and vernacular. The characters’ personalities become more vivid when they speak in incomplete sentences and stammer frequently. The end of Die Weber is a parody of the unified endings that traditional drama strictly follows and indicates a weakening of plot development, an important feature of modern drama.
Abstract
The literary value of the drama The Weavers (1891) by Gerhart Hauptmann is based on its inherent aesthetic modernity. Hauptmann refused to follow a unified and straight development of plot. The plot progresses slowly because most scenes in each act deliver the detailed description of the environment which torment the characters and their souls. The play has no individual heroes. In an unprecedented move, naturalism literature sought to break away from the restriction on the number of dramatis personae. The true hero of this play is weaver group collectively. The life of the lower class had never appeared as the main theme on the stage. The play’s dialogue emulates the rhythm, tone, and expression of ‘the language of real life’, with the naturalistic interest in reflecting reality. The Weavers is written in the Schlesien dialect and vernacular. The characters’ personalities become more vivid when they speak in incomplete sentences and stammer frequently. The end of Die Weber is a parody of the unified endings that traditional drama strictly follows and indicates a weakening of plot development, an important feature of modern drama.
참고문헌 (23)
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