메이에르홀드의 『발라간칙』: 새로운 연극을 향한 메이에르홀드의 시도

Abstract

An interest to the theater, which began from the 20th century’s Russian Symbolism, served as a momentum to explore the identity of the Russian drama theater. But the ideal of Symbolism caused, as an anti-these of it, Blok’s “pathos” in his drama 『Balaganchik』. By directing Blok’s 『Balaganchik』Meyerhold finds not only the theater technique as a type of theater but also forms of anti-reproduce plays against Stanislabski. The elements of farce in Block’s 『Balaganchik』 provided Meyerhold with a source of theatrical techniques. It includes the role of masks, which formalizes the figures, making the play unfixed in speech of actors and the structure of play-within-a-play, also the grotesque originated from a romantic irony. All of these theatrical techniques were the self-reflective type of theater, presupposing the theatrical conditions. The conditions of theater are not just a cause of failure of the Realism in theater but also the ‘keyword’ of Meyerhold’s theater. And it is a part of effort to establish ontological status of Art in the background of the 20th century’s Modernism. Meyerhold’s 『Balaganchik』 reveals the overall condition of the theater, and stimulates the imagination of the audience by metaphorically depicting an old structure of society. And the concept of the grotesque, as the result of these experiments, provides a blueprint of Meyerhold’s theater which was conducted forth by him.