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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.4
- 수록면
- 243 - 268 (26page)
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Athol Fugard is one of the contemporary postcolonial playwrights who come from and write on the historically oppressed and relatively impoverished lives, as the Third World within the First. But Fugard is exceptionally belongs by race to the First World. Thus, although he has risen into prominence for his intense and lifelong opposition to apartheid, many postcolonial critics argue that his politics are naive and he is irrevocably tied to his own position as a bourgeois white South African. This paper examines this major issue of politics in Fugard and postcolonial theater studies by re-viewing Fugard's works, especially The Road to Mecca(1985), in the background of the recent post-apartheid era.
Fugard's main achievements are usually found in his developing the `workshop plays' which pioneered the tradition of black-white workshop collaborations. His workshop plays represent an especially fruitful experiment in his career with the substantial creative contributions of black collaborators. His renouncing the genre of the workshop play since 1975 has been criticized as a great loss. But it can be argued that paradoxically in order to go beyond the limits of a South African white man artist as a postcolonial playwright Fugard should return to his central preoccupation, that is, the desire and search for his self-identity.
In The Road to Mecca Fugard tries to overcome the limits of his perspective in spectating himself and his own society by using the perspectives of South African white women and native women. Here the interactions of different female spectators generate female spectatorships and female bonds between women beyond class and race differences. In short, he appropriates the politics of spectatorship to overcome the limits of his perspective as a postcolonial white playwright. That is, in The Road to Mecca we can read Fugard's ways of inscribing spectatorships within the structure of the play, especially female spectatorship, focusing on Elsa as Helen's ideal spectator and native women as silent spectators.
Fugard's main achievements are usually found in his developing the `workshop plays' which pioneered the tradition of black-white workshop collaborations. His workshop plays represent an especially fruitful experiment in his career with the substantial creative contributions of black collaborators. His renouncing the genre of the workshop play since 1975 has been criticized as a great loss. But it can be argued that paradoxically in order to go beyond the limits of a South African white man artist as a postcolonial playwright Fugard should return to his central preoccupation, that is, the desire and search for his self-identity.
In The Road to Mecca Fugard tries to overcome the limits of his perspective in spectating himself and his own society by using the perspectives of South African white women and native women. Here the interactions of different female spectators generate female spectatorships and female bonds between women beyond class and race differences. In short, he appropriates the politics of spectatorship to overcome the limits of his perspective as a postcolonial white playwright. That is, in The Road to Mecca we can read Fugard's ways of inscribing spectatorships within the structure of the play, especially female spectatorship, focusing on Elsa as Helen's ideal spectator and native women as silent spectators.
목차
1. 여는 글
2. 푸가드의 워크샾 연극-남아프리카의 대안 연극
3. 남아프리카 백인 작가의 정체성 탐구
4. 푸가드와 『메카로 가는 길』의 관객성
5. 엘사와 헬렌, 그리고 마리우스의 개입
6. 엘사와 흑인 여자들 - 이상적 관객과 침묵하는 관객
7. 나가는 말
인용문헌
Abstract
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