세기의 전환기 영국 가정 문제극에 나타난 ‘과거가 있는 여자’ 주제의 현대성과 한계
The Modernity and Limitations of the ‘Woman with a Past’ Theme in Turn-of-the-Century British Domestic Problem Plays
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초록
‘과거가 있는 여자’는 모더니즘의 도래와 맞물리는 19세기 말과 세기의 전환기에 유럽의 대중에게 큰 흥미를 끌었던 극 소재이자 주제였고 때문에, 이러한 대중적 관심에 부응하여 상기 주제는 당대 영국 가정 문제극에 즉각 반영되었다. 일례로, 아서 윙 피네로(Arthur Wing Penero)의 『두 번째 텡커리 부인』(The Second Mrs. Tanqueray), 오스카 와일드(Oscar Wilde)의 『윈더미어 부인의 부채』(The Lady Windermere’s Fan), 서머싯 모엄(W. Somerset Maugham)의 『서클』(The Circle)에는 기성 사회에서 추방당한 소위 ‘과거가 있 는 여자’가 사회로 재진입하려는 시도, 혹은 기성 사회로부터 탈주를 시도하는 잠재적 또는 자발적 ‘과거가 있는 여자’ 상을 선보인다. 세 편의 극은 당대 이슈였던 ‘과거가 있는 여자’가 남성 중심의 도덕률과 윤리관이라는 지배 담론에서 어떻게 다루어지는지, 또한 상기 이슈에 대해 기성 사회가 각각 어떠한 대응 방식을 보이는지를 판단케 하는 척도가 될 수 있다. 본 연구는 19세기 말과 세기의 전환기라는 시대적 맥락에서 각 세 편의 극이 ‘과거가 있는 여자’ 주제 및 캐릭터를 통해 기성 도덕관과 윤리관을 향해 던지는 메시지의 ‘모던함’이 무엇인지 추이하고자 한다. 아울러 각 메시지 및 극이 갖는 ‘모던’으로서의 한계성도 함께 비교 및 논의 될 것이다.
Abstract
‘Woman with a past’ was a subject and theme that greatly interested the European public in the late 19th century and the turn of the century, including the Victorian era. In response to this popular interest, the theme was immediately reflected in contemporary British domestic problem plays. For example, Arthur Wing Pinero’s The Second Mrs. Tanqueray (1893), Oscar Wilde’s The Lady Windermere’s Fan (1892), and W. Somerset Maugham’s The Circle (1921) present the image of the so-called ‘woman with a past’ who has been expelled from the established society and attempts to re-enter it, or the potential or voluntary ‘woman with a past’ who attempts to escape from the established society. The three plays can serve as a measure to judge how the ‘woman with a past’, which was an issue at the time, is dealt with in the from the in dominant discourse of male-centered morality and ethics, and how the established society responds to the issue. This study aims to trace the ‘modernity’ of the messages that each of the three plays sends toward established moral values and ethics through the theme and characters of ‘woman with a past’ in the context of the late 19th century and the turn of the century. In addition, the limitations of each message and play as ‘modern’ will be compared and discussed.
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