드라마 <안나 카레니나: 브론스키의 회상>에 대한 소고
A Study on the Drama Anna Karenina: Vronsky’s Story
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The motif of the Drama Anna Karenina: Vronsky’s Story is based on that of the novel Anna Karenina by Leo Tolstoy. Under the direction of Karen Shakhnazarov, the drama places its focus exclusively on Anna Karenina and excludes other important figures in the novel such as Konstantin Levin and Kitty Scherbatsky to make the drama one that is by Anna and for Anna and no one else. The drama adopts an approach that is distinctive from the thrust of Tolstoy’s original work in various scenes, such as the ones in which Anna and Vronsky indulge in their affair. But it fails to present a profound analysis of Vronsky, who retrospectively narrates the story, as we can see through his conception of art and his dichotomous ways of thinking when he reacts to the paintings of the artist Mikhailov. When describing Anna, Tolstoy depicts not only her negative characteristics, but also her positive ones. But the drama, while delicately portraying Anna’s feelings through the opera scene, only invites emotional reactions toward her, the victim, by highlighting her broken heart. Shakhnazarov’s lack of objectivity in characterizing Anna can be attributed to his conception that her sin is not grievous. In other words, he seems to subscribe to the idea that the sin of adultery that Anna committed has extenuating circumstances, and that Vronsky is free from a condemnation of Anna’s suicide. This is why their affair is depicted as a true lovers’ romance in the drama, not as a murder, as in the original work. Through this reinterpretation of her in the drama, the drama can neither be completely approved nor completely disapproved of by viewers.
Abstract
The motif of the Drama Anna Karenina: Vronsky’s Story is based on that of the novel Anna Karenina by Leo Tolstoy. Under the direction of Karen Shakhnazarov, the drama places its focus exclusively on Anna Karenina and excludes other important figures in the novel such as Konstantin Levin and Kitty Scherbatsky to make the drama one that is by Anna and for Anna and no one else. The drama adopts an approach that is distinctive from the thrust of Tolstoy’s original work in various scenes, such as the ones in which Anna and Vronsky indulge in their affair. But it fails to present a profound analysis of Vronsky, who retrospectively narrates the story, as we can see through his conception of art and his dichotomous ways of thinking when he reacts to the paintings of the artist Mikhailov. When describing Anna, Tolstoy depicts not only her negative characteristics, but also her positive ones. But the drama, while delicately portraying Anna’s feelings through the opera scene, only invites emotional reactions toward her, the victim, by highlighting her broken heart. Shakhnazarov’s lack of objectivity in characterizing Anna can be attributed to his conception that her sin is not grievous. In other words, he seems to subscribe to the idea that the sin of adultery that Anna committed has extenuating circumstances, and that Vronsky is free from a condemnation of Anna’s suicide. This is why their affair is depicted as a true lovers’ romance in the drama, not as a murder, as in the original work. Through this reinterpretation of her in the drama, the drama can neither be completely approved nor completely disapproved of by viewers.
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