‘나의 더러운 혀’와 자코비안 극장의 마녀 만들기 —『에드먼튼의 마녀』를 중심으로—
‘My Bad Tongue’ and the Witch-Making on Jacobean Stage: In Case of The Witch of Edmonton
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The Witch of Edmonton is a witchcraft play based on the real witch trial in 1621 at Edmonton, England. In Jacobean era, there were two conflicting views on witches and witchcraft trials in general; one is the radical scepticism on witchcraft and the other is the demonological view sometimes interweaved with sensationalism about witchcraft discourses. Both of these views are reflected in the play. The playwrights seems to apply a sympathetic view on the protagonist; she is represented on stage as a scapegoat sacrificed in material and class conflict. However, this sort of social critical perspective is undercut as the play accepts popular images of a witch as a servant of a devil and one who enjoys pseudo-sexual relationship with the Familiar, Devil-dog. So there comes to exist two conflicting voices in the play and critics have repeatedly pointed out its representational ambivalence. In this study, by focusing on ‘a bad tongue’ of the woman accused of witchcraft - cursing, swearing and threatening, I tried to show how a witch is defined as a witch in a community at first and comes to be transformed into a powerful accuser about ‘real witches’ in society on the stage. In the process the devil dog ensnares her into malicious sports of evil doings and finally leads her to punishment. This study regards the appearance of the devil dog as a representational strategy that allows various interpretations on witch-making possible at early modern period. Furthermore, with some theatrical devices such as metatheatrical structures, the play induces audiences to consider self-reflexibly the nature of evil forces in our everyday reality in terms of witch-making performance on stage.
Abstract
The Witch of Edmonton is a witchcraft play based on the real witch trial in 1621 at Edmonton, England. In Jacobean era, there were two conflicting views on witches and witchcraft trials in general; one is the radical scepticism on witchcraft and the other is the demonological view sometimes interweaved with sensationalism about witchcraft discourses. Both of these views are reflected in the play. The playwrights seems to apply a sympathetic view on the protagonist; she is represented on stage as a scapegoat sacrificed in material and class conflict. However, this sort of social critical perspective is undercut as the play accepts popular images of a witch as a servant of a devil and one who enjoys pseudo-sexual relationship with the Familiar, Devil-dog. So there comes to exist two conflicting voices in the play and critics have repeatedly pointed out its representational ambivalence. In this study, by focusing on ‘a bad tongue’ of the woman accused of witchcraft - cursing, swearing and threatening, I tried to show how a witch is defined as a witch in a community at first and comes to be transformed into a powerful accuser about ‘real witches’ in society on the stage. In the process the devil dog ensnares her into malicious sports of evil doings and finally leads her to punishment. This study regards the appearance of the devil dog as a representational strategy that allows various interpretations on witch-making possible at early modern period. Furthermore, with some theatrical devices such as metatheatrical structures, the play induces audiences to consider self-reflexibly the nature of evil forces in our everyday reality in terms of witch-making performance on stage.
참고문헌 (26)
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