셰익스피어 공연에서 이국성 전시의 한계 벗어나기—오태석의 <템페스트>를 중심으로
Stepping Out of the Limit of Exoticness in Performing Shakespeare’s Works —focusing on <The Tempest> by Oh Taesuk
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This article aims to show that <The Tempest> by Oh Taesuk distances itself from the exotic foreignness of Asia by enhancing the theatricality, revealing comic sentiments by using the Korean language, and exposing deep Korean philosophy. Shakespeare performances in Asia have been different from the typical Western performances to the eyes of Westerners and the performances have focused on their exoticness, depending upon the local and traditional cultures of their own countries. However, Oh Taesuk's theatricality based on compression, ellipsis and jump does not present Korean traditions as they are but modifies the Korean traditions. Namely, Korean culture is presented to the audience through the theatrical experiments. The comic sentiment is delivered to the audience by experimenting with the Korean language, such as using puns and by exposing the playful aspects of Gut, a Korean ritual. Furthermore, the deep Korean philosophy by the use of many Korean songs, Korean expressions, and Korean situations is expressed on the stage. <The Tempest> by Oh Taesuk shows a deeper level of Koreanness, however, it does not simply present the traditional and the local. Revealing exoticness in a superficial way by showing only the traditional is not the aim of this performance. Theatrical experiments, language experiments, and revealing a deeper level of Korean philosophy are the aims of this performance so that it becomes a very theatrical and at the same time very Korean, performance. In that way, <The Tempest> will be an example of strengthening and solidifying Korean culture as well as reactivating Western culture.
Abstract
This article aims to show that <The Tempest> by Oh Taesuk distances itself from the exotic foreignness of Asia by enhancing the theatricality, revealing comic sentiments by using the Korean language, and exposing deep Korean philosophy. Shakespeare performances in Asia have been different from the typical Western performances to the eyes of Westerners and the performances have focused on their exoticness, depending upon the local and traditional cultures of their own countries. However, Oh Taesuk's theatricality based on compression, ellipsis and jump does not present Korean traditions as they are but modifies the Korean traditions. Namely, Korean culture is presented to the audience through the theatrical experiments. The comic sentiment is delivered to the audience by experimenting with the Korean language, such as using puns and by exposing the playful aspects of Gut, a Korean ritual. Furthermore, the deep Korean philosophy by the use of many Korean songs, Korean expressions, and Korean situations is expressed on the stage. <The Tempest> by Oh Taesuk shows a deeper level of Koreanness, however, it does not simply present the traditional and the local. Revealing exoticness in a superficial way by showing only the traditional is not the aim of this performance. Theatrical experiments, language experiments, and revealing a deeper level of Korean philosophy are the aims of this performance so that it becomes a very theatrical and at the same time very Korean, performance. In that way, <The Tempest> will be an example of strengthening and solidifying Korean culture as well as reactivating Western culture.
참고문헌 (23)
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