『진짜』: 변형적교류와 상호텍스트성
The Real Thing: Transformational Exchanges and Intertextuality
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Many critics denounce that Tom Stoppard has borrowed plots, dialogues, dramatic actions, characters, and dramatic devices from other writers’ works. In addition, they dismiss his writing style as a mere imitation and look over the intrinsic qualities in his style: what he wants to achieve through this writing style, and how his writing style contributes to develop his view of theatre. However, he did not merely imitate them, but creatively reconstituted them, put them into new contexts, and gave them new meanings. The purpose of this paper is to investigate diverse aspects of creative transformations in The Real Thing, which consists of a variety of ‘plays within a play.’ In The Real Thing, like his other works, Stoppard transformed the existing works to achieve his dramatic purpose. Namely, he explored the content and ideas rather than the forms of the plays, which he had set as his main goal in writing his plays. He believed that adapting other writers’ works as his dramatic elements was much more economical and effective than originally writing plays on his own. Also, he thought that his writing style was the most effective way of expressing theatre’s artificiality and self-reflective aspects. Stoppard’s plays are not merely parasitic imitations or mimicries; rather, they are considerably meaningful in that they are creatively transformed and recreated as new types of works. Ultimately, through his unique writing style, Stoppard demonstrates that excellent plays can be created not only by use of the playwright’s imagination, but also through creative transformations.
Abstract
Many critics denounce that Tom Stoppard has borrowed plots, dialogues, dramatic actions, characters, and dramatic devices from other writers’ works. In addition, they dismiss his writing style as a mere imitation and look over the intrinsic qualities in his style: what he wants to achieve through this writing style, and how his writing style contributes to develop his view of theatre. However, he did not merely imitate them, but creatively reconstituted them, put them into new contexts, and gave them new meanings. The purpose of this paper is to investigate diverse aspects of creative transformations in The Real Thing, which consists of a variety of ‘plays within a play.’ In The Real Thing, like his other works, Stoppard transformed the existing works to achieve his dramatic purpose. Namely, he explored the content and ideas rather than the forms of the plays, which he had set as his main goal in writing his plays. He believed that adapting other writers’ works as his dramatic elements was much more economical and effective than originally writing plays on his own. Also, he thought that his writing style was the most effective way of expressing theatre’s artificiality and self-reflective aspects. Stoppard’s plays are not merely parasitic imitations or mimicries; rather, they are considerably meaningful in that they are creatively transformed and recreated as new types of works. Ultimately, through his unique writing style, Stoppard demonstrates that excellent plays can be created not only by use of the playwright’s imagination, but also through creative transformations.
참고문헌 (28)
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