역사적 반성으로서의 드라마－토마스 베른하르트 은퇴 전에 Vor dem Ruhestand 연구

Abstract

In this paper, I looked at how the Nazi history was reflected in the Thomas Bernhard drama <Vor dem Ruhestand>. Rudolph Höller, who formerly hired Nazi officers and became chief justice, is having a birthday party Heinrich Himmler’s with his sisters every year. The drama of birthday party preparation, waiting and memory work is static because there is no clear dramatic ‘Super target’. This birthday party is a forbidden play. The role-playing characters are theatrical beings who have not secured their identity. The main character Rudolph lives in the present, but everything is in the past. In particular, he is subordinate to him like the envy of Strength. Vera, who relies on everything for her younger brother Rudolph, is only responsible for preparing forbidden plays. Clara, an antagonist in this drama, is a theatrical actor who is fond of his role in opposing Rudolf and Vera, who follow Nazi ideology, plays in this play. People who are centered in the past rather than the present make memories present through pictures that preserve the past time. Through this memory work, Nazi ideology is also becoming current. In particular, it is suggested that the crime of Nazism is true, as well as the post-war German society, which may reflect on memories through photography. The reflection of Nazi history in the past is evident from the language perspective of this work. Clara’s silence can be understood as a critique of the "social silence" that existed in postwar German society. Bernhard criticizes the postwar reality of Germany in which the forces that are obsessed with the past Nazi ideology are still ubiquitous even though the drama can not completely eliminate the wrong history. This reminds me of the message that Bertolt Brecht warned in the <Der aufhaltsame Aufstieg des Arturo Ui>: “Der Schoß ist fruchtbar noch, aus dem das kroch.”