포스트드라마연극의 수행성 연구 — <디 오써(The Author)>와 <염쟁이 유氏>를 중심으로 —

Abstract

This study is to make a case analysis of newly interpreting the change of theatrical movement ‘postdrama theatre’ rapidly occurred after the propagation of postmodernism. As the actual implementation case, <The Author> and <Undertaker Yu> were selected. Because, this works have tried resolved the problems of the drama that have been developed based on the traditional western model. <The Author> by Tim Crouch reviews the theatrical experimentation to criticize the media representation and reproduction of violence concentrating on the internal structure of drama. But, rather than represent the excessive violence on the stage, he makes the spectator to imagine, interpret, and analyze violence for auditory illusion. The audience was a co-conspirator in violence through the ‘seeing’. What <Undertaker Yu> pursing is ‘It is difficult to living than to dying’. Actor tells the story of a variety about death. Spectators in this works are an active participant that overcomes the inactive position as an observer. They are freed from the inequal position assumed by hidden audiences who are forced to pursue the ‘text’ handed down by the realistic actor on stage. The actor calling them as participants, they are developed close relations. Theme of the two works are delivered through a variety of performative strategies. It is also important to understand the active role of interactions between actor and audience. A variety of performative strategies features mediator to support interactive relationship between performers and the audience. Co-existence with the emergence of meaning goes through. Lehmann's ‘postdrama theater’ is not yet a complete theory, and experimental theatrical phenomena is underway now. Of course, this term is to have efficacy in that it explains postmodern drama phenomena that cannot be subsumed in the realm of modern drama. It is urgent that we make an academic research of non-western theatrical model and formulate a new drama theory systematically through exploring challenging theatrical phenomenon. Then, overcoming ‘the crisis of drama’ will be able to reach the new phase.