양정웅과 스티븐 그린블랏: 애도극으로 『햄릿』 읽기
Yang Jung-Ung and Stephen Greenblatt: Reading Hamlet as a Mourning-Play
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This essay analyzes two readings of Shakespeare’s Hamlet as a play of mourning: Stephen Greenblatt’s monograph, Hamlet in Purgatory (2001) and Yang Jung-Ung’s Hamlet with Yonhangza Theatre Company (2009). In his influential study of Hamlet, Greenblatt locates the tragedy’s “literary power” in the historicity of the Ghost and the post-Reformation debates on Purgatory it triggers. Hamlet stages the trauma of the loss of communion with the dead, and by doing so participates in “a cult of the dead.” Greenblatt’s new historicist reading, however, fails to account for Hamlet’s effect on the modern audience. While ‘universality’, like ‘literary power’, is a concept marginalized in current academic discourse of difference, I would suggest that Yang Jung-Ung’s Hamlet enacts the power of Shakespeare’s tragedy through Gut, Korean Shamanic ritual, thus demonstrating the universal theme of mourning inherent in the play. I focus on the three scenes of Gut for the dead in Yang’s production: Jinogigut to appease old Hamlet’s Ghost, Sumanggut for drowned Ophelia, and the final Sanjinogigut for dying Hamlet. Yang’s Hamlet, through the mise-en-scène of Gut as the cultural other of purgatorial system, expands theatrical horizon to religious expression, just as Shakespeare’s theatre fills in the vacuum left open in the religious turmoil.
Abstract
This essay analyzes two readings of Shakespeare’s Hamlet as a play of mourning: Stephen Greenblatt’s monograph, Hamlet in Purgatory (2001) and Yang Jung-Ung’s Hamlet with Yonhangza Theatre Company (2009). In his influential study of Hamlet, Greenblatt locates the tragedy’s “literary power” in the historicity of the Ghost and the post-Reformation debates on Purgatory it triggers. Hamlet stages the trauma of the loss of communion with the dead, and by doing so participates in “a cult of the dead.” Greenblatt’s new historicist reading, however, fails to account for Hamlet’s effect on the modern audience. While ‘universality’, like ‘literary power’, is a concept marginalized in current academic discourse of difference, I would suggest that Yang Jung-Ung’s Hamlet enacts the power of Shakespeare’s tragedy through Gut, Korean Shamanic ritual, thus demonstrating the universal theme of mourning inherent in the play. I focus on the three scenes of Gut for the dead in Yang’s production: Jinogigut to appease old Hamlet’s Ghost, Sumanggut for drowned Ophelia, and the final Sanjinogigut for dying Hamlet. Yang’s Hamlet, through the mise-en-scène of Gut as the cultural other of purgatorial system, expands theatrical horizon to religious expression, just as Shakespeare’s theatre fills in the vacuum left open in the religious turmoil.
참고문헌 (29)
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