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오튼의 "전리품"에 나타난 카니발레스크: 장례식 게임과 전리품

Funeral Game and Loot in Orton's Carnivalesque Loot

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This study explores Orton's Loot through carnivalesque funeral game which attacks the concept of moral and social values. According to the rule of game, Orton's characters in Loot share loot of money as winners in funeral game. Loot portrays the confusion and absurdity of authoritative British modern society of twentieth-century and reveals people's immorality and corruption. In particular, Orton uses the props of corpse, coffin, dentures and artificial eye in order to make audience shocked and to reveal how inhuman society is intrinsically evil and dishonest in the play. Loot unmasks the profound British society's prudery which camouflages hypocritical moral values. The title of Loot is both satiric and revealing of disorder, profanity and dehumanization of modern society. Orton attacks the power of authority and the absurdity of system represented by Inspector Truscott. Orton manages to mock the hypocrisy of traditional social mores through Loot. Accordingly, Loot is the most subversive play in Orton's farcical comedies.

Abstract

This study explores Orton's Loot through carnivalesque funeral game which attacks the concept of moral and social values. According to the rule of game, Orton's characters in Loot share loot of money as winners in funeral game. Loot portrays the confusion and absurdity of authoritative British modern society of twentieth-century and reveals people's immorality and corruption. In particular, Orton uses the props of corpse, coffin, dentures and artificial eye in order to make audience shocked and to reveal how inhuman society is intrinsically evil and dishonest in the play. Loot unmasks the profound British society's prudery which camouflages hypocritical moral values. The title of Loot is both satiric and revealing of disorder, profanity and dehumanization of modern society. Orton attacks the power of authority and the absurdity of system represented by Inspector Truscott. Orton manages to mock the hypocrisy of traditional social mores through Loot. Accordingly, Loot is the most subversive play in Orton's farcical comedies.

참고문헌 (17)

  1. Bermal, Albert, "Farce" (1982), U of Cornell Press
  2. Bigsby, Christopher W. E, "Joe Orton" (1982), Methuen
  3. Bull, John, "Essays on Contemporary Drama" (1981), Max Hueber Verlag
  4. Casmus, Mary I, "Farce and Verbal Style in the Plays of Joe Orton", Journal of Popular Culture, 13, pp.461~468 (1980)
  5. Esslin, Martin, "Contemporary English Drama", pp.95~107 (1981), Holmes and Meier
  6. Fraser, Kenneth, "Joe Orton: His Brief Career", Modern Drama, 14, pp.413~419 (1972)
  7. Greenberg, Joel, "A High Comedy of Bad Manners", Journal of Dramatic Theory and Criticism, 15, pp.132~144 (2001)
  8. Gordon, Giles, "The Transatlantic Review" (1971), Holt, Rinehart and Winston
  9. Lahr, John, "Prick Up Your Ears" (1978), Avon Books
  10. Moran, Gabriel, "Form a Medical Ethic to a Morality of Health Care", Alternative, 10(3) (1984)
  11. Orton, Joe, "The Complete Plays" (1990), Grove Press
  12. Page, Adrian, "The Death of the Playwright" (1992), St. Martin's Press
  13. Rusinko, Susan, "Joe Orton" (1995), Twayne Publishers
  14. Streit, Linda, "The Entertaining Mr. Orton: How Joe Orto's Plays Can Outgrow the 'Swinging Sixties", Theatre Research International, 29, pp.246~155 (2004)
  15. Taylor, John R, "The Second Wave: British Drama for the Seventies" (1971), Hill and Wang
  16. Wardle, Irving, "Back to British Gothic", The Times, 8(33) (1969)
  17. Worth, Katherine, "Modern British Dramatists" (1984), Prentice-Hall, Inc

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