포스트드라마 연극에 나타난 ‘불화’의 무대 구성과 관객

Abstract

Since Hans-Ties Lemann's Postdramatic Theatre was published in Germany in 1999, the term and con- cept of ‘Postdramatic Theatre’ has received much attention internationally and has confirmed its useful- ness as a reference point to look at contemporary theatre that refuse to imitate and represent dramatic texts. Since its introduction in Korea in 2000, Continuous discussions and exploration have been carried out to produce remarkable results across both areas of theory and practice. However, It has been really some critical views about postdramatic theatre and it’s discussion in Korea. This view is largely due to the claim that the acceptance of postdramatic theatre theory in Korea is a phenomenon derived from the uncritical envy of the West, which has been in the whole of domestic academia and postdramatic theatres are compressed by the claim that they are nothing more than art for art that lost the social voice of the play, and the claim that the concept and scope of postdramatic theatres are ambiguous. But It must be reconsider some negative postdramatic theatre discussion as though They have somewhat their own justification in the case of Korean postdramatic theatre discourse, the concept has been elaborated through continuous communication with the Western contemporary since the in- troduction of the concept in Korea immediately after the concept was announced in Germany. This fact opens up the possibility of positive evaluation that it is an example of overcoming the lag phenomenon of the West in the acceptance of discourse of modern theater in Korea. The issue of the social role of postdramatic theatre has also been constantly agonizing over it, explaining various roles or possibilities, including the reconstruction of the community. Meanwhile, several researchers including Lemann have tried to clarify the concept and scope of the postdramatic theatre. As a result, meaningful explanations were made such as what the 'dramatic theatre', which postdramatic theatre make it the object of criticism and disconnection, specifically refers to. However, it seems that further discussion is still needed until the phenomenon of postdramatic theatre can clearly explain what is distinct from to- day's various post-representative performance practices that do not presuppose 'dramatic text'. This study will analyze the new audience shown in the postdramatic theatre phenomenon of Korea according to the viewpoint of political philosopher Jacques Rancière. The appearance of the theatre can be seen as closely related to how or what kind of communication it aims for with the audience, one of the essential conditions for it to be established. Rancière's thought of emancipation, which considers art as a political practice from the viewpoint of the distribution of the sensible shares the postdramatic theatre and premise that aims to communicate with the audience through sensory perception. It is expected that it will provide a possibility to ponder on a concrete and realistic level.