아리안 므누슈킨 연극에서의 공간

Abstract

This paper aims to understand Ariane Mnouchkine's world of theatre by examining the way she has constructed the space. The author has analyzed four recent plays such as Drums on the Dam, The Last Caravan Stop, The Ephemerals, The Castaways of the Mad Hope. For the Director of Théâtre du Soleil, space is not a frame in which plot unfolds but rather a material expression of action. She defines the scene as a “terrain vague”. Terrain vague in french is not only an empty space. It is a place which is yet to be defined. Doing theatre consists of defining the space and this paper has call this writing on the scene. In her play, Ariane Mnouchkine seeks to reveal the socio-political truth of the world. However, she does not think of finding them in stark reality. For her, the most big danger of theatre is the realism. In Drums on the Dam, the actors play the role of bunraku marionette. In the ending scene, where all characters get drown, small dolls replace the bunraku-personages. They were thrown themselves into the real water. Last Caravan Stop and the Ephemerals both are a kind of documentary. For these plays, Mnouchkine employs a rolling small scenes. In the Last Caravan Stop, the anguished journey is depicted through the rolling small scenes which represents the transportation vehicle of the illegal immigrants. In the Ephemerals, memory of routined sufferings surfaces through fragmented space emerged on the scene. In the Castaways of the Mad Hope, there is a triple mise en abyme: movie has been framed in the theatre which is in its turn put into the real life of the actors of the Théâtre du Soleil.