신화의 매체 전환과 코로스
Myth’s Media Conversion and Choros
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In 『Amor in Love』, Lope de Vega actively utilizes the Choros, which originated in ancient Greek drama, while transforming Greek and Roman myths Spanish Golden Age drama. In the work, Lope's Choros functions as an important device that embodies the two-dimensional world expressed in narrative literature into a three-dimensional stage. Lope gives the Choros of ancient Greek theater a Catholic transformations by traversing it in time and space to the Spanish Baroque era. His Choros is transformed into a collective character of Spain during the Counter-Reformation, like Diana's Choros, which reminds the audience of a convent. Choros' song praising the protagonist Phoebus is transformed into the praise of Catholic believers to Christ the Savior for the Spanish audience. The story of the original myths, in which judgment between good and evil was excluded, is transformed into a structure of confrontation and conflict between the protagonist and antagonist groups in Lope's play, and his Choros stands on the side of the protagonist and sings of their victory. In Lope's work, Choros connects the narrative of the myths to the baroque festival environment, and at the same time transforms into a collective character of the play, leading the work and forming a central axis that brings about transformation of the narrative.
Abstract
In 『Amor in Love』, Lope de Vega actively utilizes the Choros, which originated in ancient Greek drama, while transforming Greek and Roman myths Spanish Golden Age drama. In the work, Lope's Choros functions as an important device that embodies the two-dimensional world expressed in narrative literature into a three-dimensional stage. Lope gives the Choros of ancient Greek theater a Catholic transformations by traversing it in time and space to the Spanish Baroque era. His Choros is transformed into a collective character of Spain during the Counter-Reformation, like Diana's Choros, which reminds the audience of a convent. Choros' song praising the protagonist Phoebus is transformed into the praise of Catholic believers to Christ the Savior for the Spanish audience. The story of the original myths, in which judgment between good and evil was excluded, is transformed into a structure of confrontation and conflict between the protagonist and antagonist groups in Lope's play, and his Choros stands on the side of the protagonist and sings of their victory. In Lope's work, Choros connects the narrative of the myths to the baroque festival environment, and at the same time transforms into a collective character of the play, leading the work and forming a central axis that brings about transformation of the narrative.
참고문헌 (29)
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