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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2004.4
- 수록면
- 125 - 151 (27page)
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초록· 키워드
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In line with Ricoeur's notions of readers' interaction with a text, audiences of different cultural backgrounds comprehend the meaning of key 20th-century plays as they decide what in the religious attitudes the plays suggest are possible for them. In line with Iser's ideas, they collaborate with the author in realizing the plays' possibilities of meanings as virtual, unfinished entities. In these ways, audience interaction with the plays expand their vital potential as multi-cultural events.
Strindberg's The Ghost Sonata (1907) has numerous gaps, negations, and unresolved tensions that invite the collaboration of readers of different times and places to realize its meanings differently. American audiences no doubt do so in terms of expectations conditioned by Christianity and modem psychology, Korean audiences in terms of Buddhism and han(恨).
The multi-cultural vitality of Brecht's Mother Courage (1939) depends on contradictions and negations in the presentation of the characters and the Christian tradition. Courage is cynical but motherly, comic yet tragic. The play's religious thrust lies not only in the blunt satire, but in subtle tensions in the association of Swiss Cheese and Kattrin with the model of simple Jesus Christ. Audiences of different cultural persuasions may judge this model differently-as either fruitful or foolish.
The potential for meaning of O'Neill's Long Day's Journey into Night (1940; 1956) and Beckett's Waiting for Godot (1953) stems from tensions in contrasting attitudes toward Christianity evoked by the plays. Beckett's play constitutes an unstable balance of hope and despair. Demoralized by brutal wars, mid-century western audiences relate immediately to its questioning of Christian hope. A modern Chinese audience reacts with bewilderment that anyone would place hope in a savior like Godot, who punishes those who drop him. Many in a Korean audience see Vladimir's belief in Godot as reinforcement of their own new-found belief in Christ.
A yin/yang tension in a Korean audience between skepticism and belief, pessimism and zest for life makes it ripe for resonance with the contrary movements of Beckett's play. Far from being a destabilizing force, however, this tension gives stability to Korean culture. As dramatized in a shamanistic village Pyolshin-kut, it even gives rise to festive celebration. The farcical skits that sometimes end such a kut bear striking resemblance to Beckett's play, but the overall thrust is toward a celebration of trust in the gods that outshines any hint of pessimism.
Theatrical directors seek to heighten the vital power of a play by highlighting tensions in the text that stimulate audiences? interaction. Good teachers do the same. They balance reflection on tensions in the text with activities that prod students of different cultural backgrounds to face tensions within themselves in resonance with those in the text, expanding the play's possibilities of meaning as they decide what is possible for them.
Strindberg's The Ghost Sonata (1907) has numerous gaps, negations, and unresolved tensions that invite the collaboration of readers of different times and places to realize its meanings differently. American audiences no doubt do so in terms of expectations conditioned by Christianity and modem psychology, Korean audiences in terms of Buddhism and han(恨).
The multi-cultural vitality of Brecht's Mother Courage (1939) depends on contradictions and negations in the presentation of the characters and the Christian tradition. Courage is cynical but motherly, comic yet tragic. The play's religious thrust lies not only in the blunt satire, but in subtle tensions in the association of Swiss Cheese and Kattrin with the model of simple Jesus Christ. Audiences of different cultural persuasions may judge this model differently-as either fruitful or foolish.
The potential for meaning of O'Neill's Long Day's Journey into Night (1940; 1956) and Beckett's Waiting for Godot (1953) stems from tensions in contrasting attitudes toward Christianity evoked by the plays. Beckett's play constitutes an unstable balance of hope and despair. Demoralized by brutal wars, mid-century western audiences relate immediately to its questioning of Christian hope. A modern Chinese audience reacts with bewilderment that anyone would place hope in a savior like Godot, who punishes those who drop him. Many in a Korean audience see Vladimir's belief in Godot as reinforcement of their own new-found belief in Christ.
A yin/yang tension in a Korean audience between skepticism and belief, pessimism and zest for life makes it ripe for resonance with the contrary movements of Beckett's play. Far from being a destabilizing force, however, this tension gives stability to Korean culture. As dramatized in a shamanistic village Pyolshin-kut, it even gives rise to festive celebration. The farcical skits that sometimes end such a kut bear striking resemblance to Beckett's play, but the overall thrust is toward a celebration of trust in the gods that outshines any hint of pessimism.
Theatrical directors seek to heighten the vital power of a play by highlighting tensions in the text that stimulate audiences? interaction. Good teachers do the same. They balance reflection on tensions in the text with activities that prod students of different cultural backgrounds to face tensions within themselves in resonance with those in the text, expanding the play's possibilities of meaning as they decide what is possible for them.
목차
Ⅰ. Introduction
Ⅱ. Easter, The Ghost Sonata, and Audience Response Criticism
Ⅲ. Mother Courage and Her Children
Ⅳ. Long Day‘s Journey into Night
Ⅴ. Waiting for Godot
Ⅵ. The Pyolshin-kut
Ⅶ. Conclusion
Works Cited
Abstract
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