최인훈 희곡의 환상성 연구 － ＜둥둥 낙랑둥＞을 중심으로 －

Abstract

This paper has revealed the meaning and intention of Choi’s drama called Doong Doong Nanglangdoong by approaching fantasy, a crucial characteristic of the piece, with respect to its aspect of plot, aspect of character, and its fantastic technique. From the perspective of its plot, Doong Doong Nanglangdoong creates fantasy as characters cross between real and non-real realities. The fantasy created by the fantastical world contains metonymic meanings of life, death, illusion, and the unconscious mind, and the meanings contrast and co-exist with the real world. Such plot of fantastic narrative that crosses between reality and fantasy makes fantastical scenes. This proves to be the principle of creation that reflects the author’s view of reality. In terms of the characters, I examined the portrayal of characters and their psychological states through Ho-dong who experiences fantasy and through the Queen who is not able to self-identify due to her many personas. Fantasy is a detailed image of unconsciousness that is expressed outside. Ho-dong’s experiencing fantasy is the unconscious manifestation of Ho-dong’s psychological state, that is, the confused state of consciousness. Ho-dong’s unconsciousness filled with excessive guilt causes the Princess’ fantasy. In this context, he experiences more confusion as seen by the fact that he mistakes the Queen for the Princess. The Queen is also confused by the complex psychology of Ho-dong, which blurs the line between reality and unreality. This complicated psychological states of the characters crisscrossing between consciousness and unconsciousness lead to the creation of fantasy. The play scene led by the Queen is also a technique that meets the fantastical element of the drama. The play scene at Nanglang Castle in which Ho-dong and the Princess had previously made love is not the current Kokuryeo Palace but the old Nanglang Castle. A player’s reenacting a virtual reality using time and space in itself retains fantasy. However, the play scene serves as the basis for fantasy in that the Queen’s complex psychological states towards Ho-dong is projected all the while consciousness and unconsciousness appear disturbed. This paper has found that fantasy is a prominent element of Choi In-Hoon’s Doong Doong Nanglangdoong through its fantastic technique entailing the drama’s plot, characters and play scene. This reveals Choi In-Hoon’s unique drama aesthetics. However, the fantasy of Choi In-Hoon’s plays will only be wholly identified when the study is expanded further to encompass linguistic elements (poetic dialogue, stage direction, silence, monologue, stutter) and non-linguistic elements (sight, hearing, objet) that are found in Choi’s other plays as well.