동시대 희곡에 나타난 신화적 상상력과 신화 다시쓰기 방식- <에비대왕>과 <처의 감각>을 중심으로

Abstract

This study examines the problem of intertextuality and reinterpretation, the rewriting method and the semantic structure of myths in the acceptance of myth by Hong Won-Ki's Abi the Great (2002) and Go Yeon-Ok's The Sensation of the Wife (2016). The rewriting patterns of the myths of the writers are largely manifested in three ways: overturning, deconstructing, restoring. Evie King the Great takes the way of overthrowing, and The Sensation of the Wife takes the form of restoring narrative. Abi the Great overthrows the narrative and subject of the myth that the goddess Barideghi carries out the underworld journey, the feminine power and salvation, and rewrites it as the narrative of the national patriarch Abi. The main narrative of myth is moving, but it maintains the background of ancient, the transcendent mood and fantasy of myth, and shows another myth writing "Abi's story about origin", a strategy of re-mythization. By dramatizing the archetypal characters and primitive energies inherent in the collective unconscious with intense images and dramatic actions, he prove that mythical imagination and characters are the important source of narratives. Unfortunately, however, Bari is a feeble character. instead of the heroic and altruistic aspect of myth, it was recreated closely to a traditional feminine image emphasizing sacrifice and maternity. This other representation of Bari is not only a deteriorating view of myth, but also a representative of the 21st century woman. Go Yeon-Ok accepts the myths of 'Tangun myth' and 'Northeast Asian bears', restoring the voice of female-dominated bear-woman, which the narrative conceals, and newly reconstructs the narrative centered on female subjects. Her rewriting method rests on the "small discourses" that have been pushed into blankness and silence in the mythical texts, and begins by arbitrarily giving new meanings through questions and imaginations based on contemporary spirit and social context. And changes mythical structures such as 'leaving (separation), trials, and return' into contemporary reality and life stories. She takes a motif from a simple narrative of bear myth and restores a concealed narrative by creating new narratives and characters. The narratives and characters of men and women have the property of mirroring or illuminating each other or illuminating the inside or functioning as a mirror. In this modern space, the contradiction between nature and civilization, the confrontation between humanity and barbarism, the confrontation between pure past and fallen present, and the confrontation between freedom and redemption are the axis of the narrative. This drama is a very good picture of the present meaning of myth which shows that our life is composed of mythical structure and mythical structure can be embodied in everyday structure. Myth is not fixed, but it is rewritten each time by connecting with the social context and the spirit of the times. Just as mythology raises questions about fundamental questions rather than answers to life questions, myths rewriting works must also ask fundamental questions about the present life.