구로사와 아키라의 《거미집의 성蜘蛛巣城》고찰 : 인물조형과 플롯을 중심으로

Abstract

This paper examines how Kurosawa adapted the original 『Macbeth』 focusing on the character creation and plot. Macbeth of the original was an active doer causing a tragedy for himself while Wasizu was a timid loser facing a collapse by the external influence, rather than his own will. Meanwhile, Wasizu's wife, Asazi was created as a 'rational' and 'heartless' character who knew very much about political physiology, on top of Macbeth's wife's 'desire'. Shakespeare sublimed the main character into a tragic character with poetic language while Kurosawa filled the gap with character creation. Also, compared to the vulgar witch of the original, the old woman in 《Throne of Blood》 showed a kind of divine unworldliness character. In the aspect that a prophecy confuses/leads the main character to ruin, those two works are not much different to each other. Kurosawa restricts the space surrounding Wasizu by omitting or simplifying the flot of diverse contents and the personality and role of characters in the original. Compressing the time between events throughout a long time, the process of the main character's collapse is rapidly and intensively developed based on the dramatic tension. Kurosawa omits or simplifies the character in the original that could reconstruct the disorder by 'evil'. This has the same reason why the end of the original resolving the disorder and realizing new orders has been omitted. The movie just aims to emphasize the continuous 'vicious circle of blood' caused by humans' desire.