지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2005.8
- 수록면
- 189 - 209 (21page)
이용수
초록· 키워드
오류제보하기
This article aims to explore Sam Shepard’s States of Shock as an antiwar play using and parodying the vaudevillian repertoire. Regarding its dramatic technique, what most critics don’t pay attention to is the vaudevillian repertoire such as comic monologues and action, songs, and dances in this play. Concerning its theme, what almost all critics misjudge is that complex and subtle dramatization of the father-son relationship is the ultimate theme of this play. This article will analyze the vaudevillian repertoire as a major dramatic technique in this play and deal with some controversial issues concerning the father-son relationship.
Stubbs’s comic lines and action burlesque the absurd and merciless war. And Glory Be shows her awkward but funny walk on the stage and makes a noisy but funny sound throwing a bowl off-stage. As for songs, “Good night, Irene” sung by all characters except Stubbs is a typical vaudevillian song, but Shepard transforms its original entertaining function into the reinforcement of one of its themes, that is, the crisis of male identity. But Glory Be’s solo, “Good morning heart-ache” encourages audience to face dark reality as it is, and so is used as a purifier for eliminating, though temporarily, the illusory atmosphere created by four characters. Directing our attention to dances, Colonel reveals his white male superiority, misguided Puritanism, and dreams of escaping to Mexico as he dances with Glory Be. Thus Shepard makes hisplay interesting by using the vaudevillian repertoire. On the other hand, Shepard reveals four characters’ fantasies and prohibits the audience from being immersed in dramatic illusion by parodying the vaudevillian repertoire.
As for its theme, Shepard criticizes all wars which America has been involved in domestically and internationally. And the father-son relationship full of tension and conflicts between Colonel and Stubbs is a metaphor for the everlasting connection and confrontation between delusive American values and their ugly reality. Conclusively, Shepard succeeds in criticizing poignantly the arrogance and complacency of the American army, government, and middle-class people by using shock therapy in States of Shock.
Stubbs’s comic lines and action burlesque the absurd and merciless war. And Glory Be shows her awkward but funny walk on the stage and makes a noisy but funny sound throwing a bowl off-stage. As for songs, “Good night, Irene” sung by all characters except Stubbs is a typical vaudevillian song, but Shepard transforms its original entertaining function into the reinforcement of one of its themes, that is, the crisis of male identity. But Glory Be’s solo, “Good morning heart-ache” encourages audience to face dark reality as it is, and so is used as a purifier for eliminating, though temporarily, the illusory atmosphere created by four characters. Directing our attention to dances, Colonel reveals his white male superiority, misguided Puritanism, and dreams of escaping to Mexico as he dances with Glory Be. Thus Shepard makes hisplay interesting by using the vaudevillian repertoire. On the other hand, Shepard reveals four characters’ fantasies and prohibits the audience from being immersed in dramatic illusion by parodying the vaudevillian repertoire.
As for its theme, Shepard criticizes all wars which America has been involved in domestically and internationally. And the father-son relationship full of tension and conflicts between Colonel and Stubbs is a metaphor for the everlasting connection and confrontation between delusive American values and their ugly reality. Conclusively, Shepard succeeds in criticizing poignantly the arrogance and complacency of the American army, government, and middle-class people by using shock therapy in States of Shock.
목차
Ⅰ
Ⅱ
Ⅲ
Ⅳ
Ⅴ
인용문헌
Astract
참고문헌 (12)
참고문헌 신청
[학술지(정기간행물)] - / 1998 / The Theatre of Sam Shepard:States of Crisis
[학술지(정기간행물)] - / 1997 / Published and Unpublished Wars: Contextualising Sam Shepards States of Shock:Living with America1946-1996 : 223 ~ 234
[학술지(정기간행물)] - / / States of Shock
[학술지(정기간행물)] - / 1996 / Staging Masculinity:The Search for Male Identity in Contemporary American Drama
[학술지(정기간행물)] - / 1993 / .True Lies:The Architecture of the Fantastic in the Plays of Sam Shepard
[학술지(정기간행물)] - / 1997 / Published and Unpublished Wars: Contextualising Sam Shepards States of Shock:Living with America1946-1996 : 223 ~ 234
[학술지(정기간행물)] - / / States of Shock
[학술지(정기간행물)] - / 1996 / Staging Masculinity:The Search for Male Identity in Contemporary American Drama
[학술지(정기간행물)] - / 1993 / .True Lies:The Architecture of the Fantastic in the Plays of Sam Shepard
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
『마음의 거짓말』: 샘 셰퍼드의 여성 재현의 변화 연구
신영어영문학
2015 .02
-
샘 셰퍼드의 『지옥의 신』 : 애국심으로 포장된 폭력
새한영어영문학
2018 .05
-
샘 셰퍼드의 작품에 나타난 양성관계 : 『사랑에 눈먼 바보』와 『마음의 거짓말』을 중심으로
새한영어영문학
2000 .06
-
Sam Shepard's Father-Son Conflict Trilogy : The Rock Garden, La Turista, The Holy Ghostly
새한영어영문학
1998 .05
-
Sam Shepard의 초기 작품과 사회 비평
현대영미드라마
1992 .08
-
Spatial and Temporal Politics of Memories: Focusing on Shepard’s Fool for Love
영어권문화연구
2018 .01
-
범죄의 위력의 두 버전 비교 연구
영어영문학연구
2015 .01
-
샘 셰퍼드의 『액션』에 나타난 자아의 형성에 관한 연구
영어영문학연구
2008 .01
-
샘 셰퍼드의 실험극에 나타난 미지의 세계 : 『사랑에 미쳐』에서의 실재영역과 환상영역 넘나들기
신영어영문학
2010 .02
-
샘 셰퍼드의 『마음의 거짓말』에 나타난 분열된 자아
신영어영문학
2013 .08
-
샘 셰퍼드의 평화주의 연극에 나타난 적 개념 비판과 화합의 메시지 : 『공포에 질린 합중국』, 『세상이 푸르렀을 때』, 『지옥의 신』을 중심으로
현대영미드라마
2008 .04
-
무대 위의 폭력과 관객의 통증 : 샘 셰퍼드의 가족극 삼부작
현대영미드라마
2013 .12
-
매장된 기호 : Sam Shepard 가족극에서의 비언어적 요소 : Buried Child를 중심으로
현대영미드라마
1995 .08
-
영화작가로서의 샘 셰퍼드: Paris, Texas의 셰퍼드 창작경력에서의 의의와 성취
현대영미드라마
2019 .08
-
Fool for Love: 폭력과 환상, 그리고 엇갈린 사랑
현대영미드라마
2013 .04
-
Buried Child에 나타난 제의와 폭력
현대영미드라마
2004 .12
-
샘 셰퍼드의 『진짜 서부』에 드러난 팝아트 미학
동서비교문학저널
2019 .06
-
『진짜 서부』에 나타난 왜곡된 남성상
신영어영문학
2008 .11
-
The Tooth of Crime : 음악과 언어에 관한 연구
현대영미드라마
2000 .10
이 논문의 저자 정보
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-842-015464692