윌리엄즈 극의 자기반영성: 장애를 넘어 구원으로
Self-Reflexivity in Tennessee Williams' Plays
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Tennessee Williams used a type of self-reflexive metadrama in some plays, which can be recognized as representative postmodern theatrical trend these days. In The Glass Menagerie, Williams' first major theatrical success, Tom is a natural and honest dramatis personae in terms of self-reflexivity. Tom, the poet-narrator and author's surrogate organizes the drama symbolically. What holds the play together are Tom's remembrances of things past, not plot of characterization. This play projects a vision of lonely human beings with disabilities and frustration who are isolated from each other and who seem ultimately abandoned in the universe. It embodies the fragility of the characters' emotional world and their search for escape from their harsh reality. In A Streetcar Named Desire, Williams presents in Blanche, more effectively than earlier in Tom, certain features of his self-portrait. In Williams' early plays, one can escape only into death, madness, or chaos. In Camino Real , however, his characters are all diminished but still undefeated heroes--Byron, Don Quixote, and Kilroy--who have found that the Royal Road turns into the Real Road at the border of life. Originally ‘Camino Real’ is the royal highway in Mexico, but it is a metaphorical expression that life is a journey in Williams' plays. In the dream-like setting of Camino Real, a walled community, from which the characters ceaselessly try to escape, Byron and Don Quixote have access to the outside for themselves, and finally Kilroy goes with them through the arch at the end of the Camino Real toward the unknown land. Camino Real sums up so much of Williams' thought, brings together so many of his favorite images and heroes and situations, that Williams loves it for its portrayal of his conscious art. Through Williams' self-reflexive images around the journey of the quest for salvation, this play succeeds in making tangible for all our senses the delirious pains and ecstasy of a wild dream.
Abstract
Tennessee Williams used a type of self-reflexive metadrama in some plays, which can be recognized as representative postmodern theatrical trend these days. In The Glass Menagerie, Williams' first major theatrical success, Tom is a natural and honest dramatis personae in terms of self-reflexivity. Tom, the poet-narrator and author's surrogate organizes the drama symbolically. What holds the play together are Tom's remembrances of things past, not plot of characterization. This play projects a vision of lonely human beings with disabilities and frustration who are isolated from each other and who seem ultimately abandoned in the universe. It embodies the fragility of the characters' emotional world and their search for escape from their harsh reality. In A Streetcar Named Desire, Williams presents in Blanche, more effectively than earlier in Tom, certain features of his self-portrait. In Williams' early plays, one can escape only into death, madness, or chaos. In Camino Real , however, his characters are all diminished but still undefeated heroes--Byron, Don Quixote, and Kilroy--who have found that the Royal Road turns into the Real Road at the border of life. Originally ‘Camino Real’ is the royal highway in Mexico, but it is a metaphorical expression that life is a journey in Williams' plays. In the dream-like setting of Camino Real, a walled community, from which the characters ceaselessly try to escape, Byron and Don Quixote have access to the outside for themselves, and finally Kilroy goes with them through the arch at the end of the Camino Real toward the unknown land. Camino Real sums up so much of Williams' thought, brings together so many of his favorite images and heroes and situations, that Williams loves it for its portrayal of his conscious art. Through Williams' self-reflexive images around the journey of the quest for salvation, this play succeeds in making tangible for all our senses the delirious pains and ecstasy of a wild dream.
참고문헌 (27)
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