테네시 윌리엄스의 블랑쉬 다시 기억하기 – 공포와 연민을 넘어서 책임과 공감으로
“It’s our grief”: Re-membering Blanche beyond Pity and Fear
2
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
“It’s our grief”: Re-membering Blanche beyond Pity and FearKim, MijeongThis paper attempts to re-read Tennessee William's A Streetcar Named Desirefrom a non-Aristotelian perspective, particularly focusing on the audienceperformativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a finalpurpose or end (telos) and that is to inspire a catharsis (literally “purification”)of pity and fear by means of representation and to give pleasure from experiencingtheir relief. However, a dramatic theoretician Augusto Boal argues that Aristoteliancatharsis is not to get rid of pity and fear through their vehement discharge; rather,the basic function of catharsis is the purging of antisocial elements from the socialbody and the restoration of order because catharsis occurs when the spectator,terrified by the spectacle of the catastrophe, is purified of his “hamartia” whichlooks similar to the tragic flaw of the hero in the play. Thus, Boal asserts thatAristotle's coercive system of tragedy manipulates the emotions of the passivespectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimationfor a particular political configuration but as the performance of ethical acts―throughwhich all the participants, including not only the actors but also the audience,communicate more actively about practical problems and actively work in orderto make sense of themselves, others, and society. Here, the audience is requiredto restore and reinforce his/her capacity to think and to act; thus, an unquestioning,passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A StreetcarNamed Desire involves the audience in the responsibility for what occurs on thestage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purgingof pity and fear, but empathy toward the other's pain, beyond pity and fear, tocarry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to “re-member” Blanche DuBoi―theiconic Williams victim “dis-membered” by traumatic memories and open woundsand is thus unable to complete her grieving and mourning―as one of us, notas the other. It will be the only way to remember right regarding her tragedy.
Abstract
“It’s our grief”: Re-membering Blanche beyond Pity and FearKim, MijeongThis paper attempts to re-read Tennessee William's A Streetcar Named Desirefrom a non-Aristotelian perspective, particularly focusing on the audienceperformativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a finalpurpose or end (telos) and that is to inspire a catharsis (literally “purification”)of pity and fear by means of representation and to give pleasure from experiencingtheir relief. However, a dramatic theoretician Augusto Boal argues that Aristoteliancatharsis is not to get rid of pity and fear through their vehement discharge; rather,the basic function of catharsis is the purging of antisocial elements from the socialbody and the restoration of order because catharsis occurs when the spectator,terrified by the spectacle of the catastrophe, is purified of his “hamartia” whichlooks similar to the tragic flaw of the hero in the play. Thus, Boal asserts thatAristotle's coercive system of tragedy manipulates the emotions of the passivespectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimationfor a particular political configuration but as the performance of ethical acts―throughwhich all the participants, including not only the actors but also the audience,communicate more actively about practical problems and actively work in orderto make sense of themselves, others, and society. Here, the audience is requiredto restore and reinforce his/her capacity to think and to act; thus, an unquestioning,passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A StreetcarNamed Desire involves the audience in the responsibility for what occurs on thestage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purgingof pity and fear, but empathy toward the other's pain, beyond pity and fear, tocarry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to “re-member” Blanche DuBoi―theiconic Williams victim “dis-membered” by traumatic memories and open woundsand is thus unable to complete her grieving and mourning―as one of us, notas the other. It will be the only way to remember right regarding her tragedy.
참고문헌 (29)
- 곽기완, "서사극 이론에 관한 소고 - 비 (非) 아리스토텔레스적 측면에서", 비교문학, 9, pp.139~167 (1985)
- 박종원, "관객 참여형 퍼포먼스에서 나타나는 참여자의 수행성 연구", 한국영상학회논문집, 11(1), pp.165~178 (2013), 한국영상학회
- 서현석, "다큐멘터리와 아방가르드의 접점에서 -수행적 다큐멘터리에 관한 수행적 단상들-", 영화연구, (43), pp.229~271 (2010), 한국영화학회
- 손택, 수전, "타인의 고통" (2007), 도서출판 이후
- 아리스토텔레스, "시학" (1996), 문예출판사
- 원준식, "비아리스토텔레스적 연극미학 (Ⅰ) : 감정이입에서 능동적인 소통으로", 미학예술학연구, 33, pp.143~176 (2011), 한국미학예술학회
- 이경미, "현대공연예술의 수행성과 그 의미", 한국연극학, (31), pp.135~167 (2007), 한국연극학회
- 이경미, "현대연극에 나타난 포스트아방가르드적 전환 및 관객의 미적 경험", 한국연극학, (37), pp.205~244 (2009), 한국연극학회
- 이형식, "현대미국희곡론" (1995), 신아사
- "소크라테스의 독배: 파르마콘, 또는 독과 약" (2010)[URL]
- 최성희, "수행성과 퍼포먼스의 생산적 간극: 『인형의 집』에 나타난 입센의 드라마터지를 중심으로", 영미문학페미니즘, 20(2), pp.253~277 (2012), 한국영미문학페미니즘학회
- 최혜영, "그리스 비극에 나타난 젠더와 아테네 제국주의-아이스킬로스 『오레스테이아』를 중심으로-", 외국문학연구, (29), pp.431~448 (2008), 외국문학연구소
- BAK, John S, "Vestis virum reddit: The Gender Politics of Drag in Williams’s A Streetcar Named Desire and Hwang’s M. Butterfly", South Atlantic Review, 70(4), pp.94~118 (2005)
- BERSON, Misha Berson, "What Does It Take to Keep ‘Streetcar’ on Track?", American Theatre, 25, pp.110~113 (2008)
- BLOOM, Harold, "Modern Critical Interpretations: Tennessee Williams’s A Streetcar Named Desire" (1998), Chelsea
- COETZEE, J.M, "Disgrace" (2000), Penguin Books
- DOWLING, Ellen, "The Derailment of A Streetcar Named Desire", Literature, 1981, pp.9, 233~239
- IRIGARAY, Luce, "The Irigaray Reader", pp.34~46 (1991), Basil Blackwell
- LANT, Kathleen, "Drama Criticism: Criticism of the Most Significant and Widely Studied Dramatic Works from All the World’s Literatures" (1991), Gale Research
- LEFF, Leonard J, "And Transfer to Cemeteries: The Streetcars Named Desire", Film Quarterly, 55, pp.29~37 (2002)
- LEIBMAN, Nina C, "Sexual Misdemeanor", Psychoanalytic Felony, 1987, pp.26(Winter), 27~38
- MILLER, Jordan Yale, "Twentieth Century Interpretations of A Streetcar Named Desire: A Collection of Critical Essays" (1971), Prentice
- NELSON, Benjamin, "Tennessee Williams: The Man and His Work" (1961), Ivan Obolensky
- "Actors Rev Up a Gritty, High-Octane ‘Streetcar.’" (1999)[URL]
- SPOTO, Donald, "The Kindness of Strangers: The Life of Tennessee Williams" (1985), Ballantine Books
- VLASOPOLOS, Anca, "Authorizing History: Victimization in A Streetcar Named Desire", Theatre Journal, 38, pp.322~338 (1985)
- WILLIAMS, Tennessee, "Elia Kazan: A Life" (1988), Knopf
- WILLIAMS, Tennessee, "A Streetcar Named Desire" (2004), New Directions
- Žižek, Slavoj, "The Sublime Object of Ideology" (1989), Verso