Staging Christ’s Dreaming-Back: Yeats’s Calvary
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This is a study of Yeats’s experimental techniques in his play Calvary. Yeats’s experimental theater was derived from his effort to reform the theater. His anti-theatrical efforts brought out an innovative reform of theatrical representation and as a result, his drama was defined as the diegetic theater. In Calvary, one of his dance plays, Yeats employs audacious theatrical devices to stage Christ’s dreaming-back which inevitably accompanies the issue of blasphemy. He removes all possible naturalistic details that may cause the sentimental audience response, and instead employs various distancing devices including the diegetic technique of fragmenting the theater by diegetic language. By such techniques, the audience are forced to distance themselves from the dramatic representation on the stage and imagine the dramatic situation in their minds. As a consequence, Yeats achieves his experimental drama where the dramatic conflict takes place in the minds of the audience and the audience’s collaboration becomes an inevitable factor.
Abstract
This is a study of Yeats’s experimental techniques in his play Calvary. Yeats’s experimental theater was derived from his effort to reform the theater. His anti-theatrical efforts brought out an innovative reform of theatrical representation and as a result, his drama was defined as the diegetic theater. In Calvary, one of his dance plays, Yeats employs audacious theatrical devices to stage Christ’s dreaming-back which inevitably accompanies the issue of blasphemy. He removes all possible naturalistic details that may cause the sentimental audience response, and instead employs various distancing devices including the diegetic technique of fragmenting the theater by diegetic language. By such techniques, the audience are forced to distance themselves from the dramatic representation on the stage and imagine the dramatic situation in their minds. As a consequence, Yeats achieves his experimental drama where the dramatic conflict takes place in the minds of the audience and the audience’s collaboration becomes an inevitable factor.
참고문헌 (18)
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