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핀터의『풍경』에 나타난 고립과 고독

The Theme of Loneliness, Which Is Seen on the Stage and Heard in Landscape

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In Landscape, Harold Pinter shows audience a play with the theme of loneliness. The content of human isolation and separation is dramatized through the form of isolation in two ways. One way is to use visual image and stage setting. As a static drama, action and movement on the stage is kept to a minimum and stage settings also contribute to hinting the loneliness and isolation between characters. Pinter uses non-verbal language pattern in order to separate two characters, Duff and Beth. It is the landscape seen on the stage. The other way is to make two characters tell their own monologues, which are mostly past memories. In the operation of memory, the past can be represented in the present and at that time Pinter’s characters create their own desirable self-image. With the purpose of escaping from the present fear and dissatisfaction and getting better identity, they manipulate stories and find refuges of the self from the real life. It is the landscape heard in stories. While observing two characters giving alternating monologues, audience can realize the real human condition by active participation. At last, we can realize that the form of the play is good for conveying the theme of the play, i.e. loneliness, unability to communicate, and solitude.

Abstract

In Landscape, Harold Pinter shows audience a play with the theme of loneliness. The content of human isolation and separation is dramatized through the form of isolation in two ways. One way is to use visual image and stage setting. As a static drama, action and movement on the stage is kept to a minimum and stage settings also contribute to hinting the loneliness and isolation between characters. Pinter uses non-verbal language pattern in order to separate two characters, Duff and Beth. It is the landscape seen on the stage. The other way is to make two characters tell their own monologues, which are mostly past memories. In the operation of memory, the past can be represented in the present and at that time Pinter’s characters create their own desirable self-image. With the purpose of escaping from the present fear and dissatisfaction and getting better identity, they manipulate stories and find refuges of the self from the real life. It is the landscape heard in stories. While observing two characters giving alternating monologues, audience can realize the real human condition by active participation. At last, we can realize that the form of the play is good for conveying the theme of the play, i.e. loneliness, unability to communicate, and solitude.

참고문헌 (15)

  1. 성은주, "『클라우디 나인』에 나타난 페미니스트 서사 연구", 영어영문학연구, 64(3), pp.75~96 (2022)
  2. 최정미, "핀터의 정적극 『풍경』: 비언어적 적막과 인물의 내면세계", 신영어영문학, 85, pp.187~207 (2023)
  3. Almansi, Guido, "Harold Pinter" (1983), Methuen
  4. Billington, Michael, "The Life and Work of Harold Pinter" (1996), Faber and Faber
  5. Dukore, Bernard F, "Harold Pinter" (1982), Macmillan Press
  6. Esslin, Martin, "The People Wound : The Work of Harold Pinter" (1970), Garden City
  7. Esslin, Martin, "The Theatre of the Absurd" (1977), Penguin Books
  8. Ganz, Arthur, "Pinter: A Collection of Critical Essays", pp.161~178 (1972), Englewood Cliffs
  9. Ghilardi-Santacatterine, Maria, "Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage", pp.108~120 (1997), Macmillan Press
  10. Gussow, Mel, "Conversation with Pinter" (1994), Grove Press
  11. Kennedy, Andrew K, "Six Dramatists in Search of a Language : Studies in Dramatic Language" (1976), Cambridge UP
  12. Knowles, Ronald, "Understanding Harold Pinter" (1995), South Carolina UP
  13. Pinter, Harold, "Plays: Three (The Homecoming, Tea Party, The Basement, Landscape, Silence)" (1978), Eyre Methuen
  14. Quigley, Austin E., "The Pinter Problem" (1975), Princeton UP
  15. Sakellaridou, Elizabeth, "Pinter’s Female Portraits" (1988), Macmillan Press

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