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.
초록· 키워드
오류제보하기
Although there were a few negative reviews, the success of Equus has been overwhelming, in part because of its electrifying theatrical experience and its thought-provoking theme, so the play has been hailed as one of the most powerful and provocative theatrical events of our time. Moreover, in the sequence of scenes between two characters, Alan, the patient and Dysart, the psychiatrist, there is a good balance between the outer narrative structure and the inner response structure.
On the surface level what is intriguing about Equus is that it resembles a conventional criminal investigation and that Alan's story is presented as a pathological case study. We begin to note how Alan's Equus becomes a grotesque of the competing gods in contemporary society. But the uncovering of Alan's problems are balanced by their affinities with those of Dr. Dysart, reflected in his life, devoid of extreme passion and any form of worship. Even though much of the play concerns Alan's rehabilitation and his struggle for identity, we are led to recognize that Dysart, as the protagonist, who is suffering from a malaise both personal and professional, begins to understand the inability of modern society to invigorate our inner drives and impulses. Even more profound is the relationship between the two characters, a unit trying to solve their sexual and social difficulties, and their mutual effects upon each other.
Shaffer attempts to illuminate more meaningful dimensions of the theatrical experiences, making use of minimal sets - masks, costumes, and lights - for striking visual imagery. And the ritualistic elements of the play create an intuitive communication between the characters on stage and the audience. The action of Equus on the audience is analogous to that of the play's psychiatrist, Dysart, on his patient. The inner response structure of the play draws the audience into the several complex levels - observing, thinking, interpreting and experiencing - through the processes of the journey into the unconscious and the discovery of the character's identities.
On the surface level what is intriguing about Equus is that it resembles a conventional criminal investigation and that Alan's story is presented as a pathological case study. We begin to note how Alan's Equus becomes a grotesque of the competing gods in contemporary society. But the uncovering of Alan's problems are balanced by their affinities with those of Dr. Dysart, reflected in his life, devoid of extreme passion and any form of worship. Even though much of the play concerns Alan's rehabilitation and his struggle for identity, we are led to recognize that Dysart, as the protagonist, who is suffering from a malaise both personal and professional, begins to understand the inability of modern society to invigorate our inner drives and impulses. Even more profound is the relationship between the two characters, a unit trying to solve their sexual and social difficulties, and their mutual effects upon each other.
Shaffer attempts to illuminate more meaningful dimensions of the theatrical experiences, making use of minimal sets - masks, costumes, and lights - for striking visual imagery. And the ritualistic elements of the play create an intuitive communication between the characters on stage and the audience. The action of Equus on the audience is analogous to that of the play's psychiatrist, Dysart, on his patient. The inner response structure of the play draws the audience into the several complex levels - observing, thinking, interpreting and experiencing - through the processes of the journey into the unconscious and the discovery of the character's identities.
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UCI(KEPA) : I410-ECN-0101-2009-842-015563907