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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2003.8
- 수록면
- 135 - 161 (27page)
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What is the real thing in life, love, politics, and representation? The idea of the real thing and its faithful representation have been one of Stoppard's consistent concerns throughout his career as a playwright. However, Stoppard does not insist on holding on to one single version of reality. His drama is the field of struggle among several different pictures of the world, which frequently baffles the audience's desire to perceive the world as something concrete and specific. Although Stoppard is a writer who has consistently maintained his own perspective regarding the problem of representation, he is reluctant to reveal his position, or take sides with a particular character’s argument. Another important characteristic of Stoppard as a playwright is that he hardly writes a love story. He is known to be obsessed with the play of words and the experimentation of dramatic form and techniques. Stoppard is an expert in composing a dramatic structure which almost reaches the level of scientific device. There is no room for emotional communication among his characters since their action resembles the clockwork mechanism of an electronic device. It is no wonder his plays have been criticized for the lack of human emotions and loving feelings among characters.
The Real Thing is the result of the author's attempt to deal with the two problems at the same time. What is real? And what is true love? First, Stoppard questions and blurs the border line between the real world and art by showing a scene about a couple which later turns out to be a play. The first scene is a scene of a play written by a character in the second scene. When the curtain goes up, the audience believes that they see a real event, but later finds out that they have seen a play within a play. This kind of switch between real and imaginary events takes place repeatedly throughout the play and thus shakes the audience's sense of reality. Throughout the performance the audience members are not allowed to believe anything as a rock solid platform on which they can base their perception about the world and its representation. In Stoppard's work, life turns out to be a play, and a play suddenly becomes the real world. The wall between art and the real world crumbles and makes the two flow into each other. It becomes very hard to tell life from art. The audience members may ask whether what they see is a real event or a play.
As both Stoppard and his critics observe, The Real Thing is the first and only work to deal with the concept of true love. Henry is a husband who never cares about his wife's feelings. He says that once a man and a woman are committed to each other, they do not have to worry about the possibility of betrayal as long as they stay together. Only a long time after they are divorced, his ex-wife Charlotte corrects him by saying, "There are no commitments. There are only bargains everyday." Charlotte confesses that she had nine extramarital affairs while married to him. In the second part of the play Henry gradually realizes that he needs to learn the art of loving. By the time Henry decides to become a different person Annie also finds out that Henry is the man who truly loves her. She is disillusioned with Billy's immaturity, and Brodie's ingratitude and lack of manners.
The Real Thing is the result of the author's attempt to deal with the two problems at the same time. What is real? And what is true love? First, Stoppard questions and blurs the border line between the real world and art by showing a scene about a couple which later turns out to be a play. The first scene is a scene of a play written by a character in the second scene. When the curtain goes up, the audience believes that they see a real event, but later finds out that they have seen a play within a play. This kind of switch between real and imaginary events takes place repeatedly throughout the play and thus shakes the audience's sense of reality. Throughout the performance the audience members are not allowed to believe anything as a rock solid platform on which they can base their perception about the world and its representation. In Stoppard's work, life turns out to be a play, and a play suddenly becomes the real world. The wall between art and the real world crumbles and makes the two flow into each other. It becomes very hard to tell life from art. The audience members may ask whether what they see is a real event or a play.
As both Stoppard and his critics observe, The Real Thing is the first and only work to deal with the concept of true love. Henry is a husband who never cares about his wife's feelings. He says that once a man and a woman are committed to each other, they do not have to worry about the possibility of betrayal as long as they stay together. Only a long time after they are divorced, his ex-wife Charlotte corrects him by saying, "There are no commitments. There are only bargains everyday." Charlotte confesses that she had nine extramarital affairs while married to him. In the second part of the play Henry gradually realizes that he needs to learn the art of loving. By the time Henry decides to become a different person Annie also finds out that Henry is the man who truly loves her. She is disillusioned with Billy's immaturity, and Brodie's ingratitude and lack of manners.
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