『플로리젤과 퍼디타』 —모건과 개릭의 『겨울 이야기』 각색
Florizel and Perdita: Two Alterations of The Winter’s Tale by Morgann and Garrick
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This paper tries to examine the similarities and the differences of the two Florizel and Perdita's, the two rival alterations of Shakespeare's The Winter's Tale by Macnamara Morgann and David Garrick, within the socio-cultural contexts of “the Garrick's age” (1741-1776), when the imminent divorce of ‘stage' and ‘page' did not yet happen, and making adaptations of old plays rather than writing new ones became more suitable to the rival Theatres Royal in London mainly due to “the Stage Licensing Act” of 1737. Morgann's alteration was a ‘pastoral comedy' reduced into two acts, celebrating the love and marriage of Florizel and Perdita. The most important obstacle to their marriage was the barrier of class. The conflict was resolved by unfolding the mystery of Perdita's birth, and the heir to the throne was lawfully and safely confirmed. Garrick's alteration was a ‘dramatic pastoral' transformed into three acts and could be arguably regarded as an adaptation closer to Shakespeare's original compared with Morgann's. However, Garrick's alteration was mainly focused on Leontes' repentance and his family reunion and reconciliation. While his patriarchal wishes were fulfilled, the complex female characters were either silenced or marginalized, and their sentimental domesticity was emphasized. The two alterations by Morgann and Garrick remind us of the ‘multi-vocal' potential of Shakespeare's original and also of the fundamentally fluid and dynamic nature of drama and theater.
Abstract
This paper tries to examine the similarities and the differences of the two Florizel and Perdita's, the two rival alterations of Shakespeare's The Winter's Tale by Macnamara Morgann and David Garrick, within the socio-cultural contexts of “the Garrick's age” (1741-1776), when the imminent divorce of ‘stage' and ‘page' did not yet happen, and making adaptations of old plays rather than writing new ones became more suitable to the rival Theatres Royal in London mainly due to “the Stage Licensing Act” of 1737. Morgann's alteration was a ‘pastoral comedy' reduced into two acts, celebrating the love and marriage of Florizel and Perdita. The most important obstacle to their marriage was the barrier of class. The conflict was resolved by unfolding the mystery of Perdita's birth, and the heir to the throne was lawfully and safely confirmed. Garrick's alteration was a ‘dramatic pastoral' transformed into three acts and could be arguably regarded as an adaptation closer to Shakespeare's original compared with Morgann's. However, Garrick's alteration was mainly focused on Leontes' repentance and his family reunion and reconciliation. While his patriarchal wishes were fulfilled, the complex female characters were either silenced or marginalized, and their sentimental domesticity was emphasized. The two alterations by Morgann and Garrick remind us of the ‘multi-vocal' potential of Shakespeare's original and also of the fundamentally fluid and dynamic nature of drama and theater.
참고문헌 (24)
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