모호함의 정치: 폴라 보글의 『내가 운전을 배운 법』을 중심으로
Politics of Ambiguity: Focused on Paula Vogel’s How I Learned To Drive
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The purpose of this study is to analyze Paula Vogel’s recent play, How I Learned To Drive, through the aspect that dramaturgy has taken to postmodernism. She attempts to challenge normative values of our society through allusive and metaphoric stages which reflect her political propaganda. She uses her own unique dramaturgy like structure, form, style and characters in order to blur established boundaries of all our rigid concepts in the society. In How I Learned To Drive, Vogel demonstrates moral ambivalence through her postmodern dramatic strategies. How I Learned To Drive ostensibly deals with child abuse and pedophilia. However, it does not cause indignation to the audience and readers. In order to destabilize the confined boundaries of judgment for the relationship between Peck and Li’l Bit, Vogel heightens the dramatic effect with innovative techniques such as comic chorus and special audio and visual devices. Vogel does not suggest any right and concrete answer. In How I Learned To Drive, she combines various kinds of dramaturgy with her experimental subject and new styles for deconstructing our conventions and prejudice. Vogel appears to deliver her political propaganda through these postmodern dramaturgy and suggests the possibility of a more flexible way of thinking for readers and spectators.
Abstract
The purpose of this study is to analyze Paula Vogel’s recent play, How I Learned To Drive, through the aspect that dramaturgy has taken to postmodernism. She attempts to challenge normative values of our society through allusive and metaphoric stages which reflect her political propaganda. She uses her own unique dramaturgy like structure, form, style and characters in order to blur established boundaries of all our rigid concepts in the society. In How I Learned To Drive, Vogel demonstrates moral ambivalence through her postmodern dramatic strategies. How I Learned To Drive ostensibly deals with child abuse and pedophilia. However, it does not cause indignation to the audience and readers. In order to destabilize the confined boundaries of judgment for the relationship between Peck and Li’l Bit, Vogel heightens the dramatic effect with innovative techniques such as comic chorus and special audio and visual devices. Vogel does not suggest any right and concrete answer. In How I Learned To Drive, she combines various kinds of dramaturgy with her experimental subject and new styles for deconstructing our conventions and prejudice. Vogel appears to deliver her political propaganda through these postmodern dramaturgy and suggests the possibility of a more flexible way of thinking for readers and spectators.
참고문헌 (34)
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