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
- 2008.12
- 수록면
- 797 - 822 (26page)
이용수
초록· 키워드
오류제보하기
This paper aims to study the audience's response in the problem play, Measure for Measure. It does not permit its audience to become emotionally involved to any extent. Characters' inconsistencies and contradictions prevent the audience from identifying with them. Instead, this play frequently reminds audience that he or she is the only observer of these perplexing characters. Likewise, the obvious display of thematic issues tends to de-emphasize emotional involvement.
Measure for Measure initially draws the attention of the audience, but after the opening act of the play, the audience's relationship to the play begins to change. The audience's expectations, based on its assumption that this play is romance, are soon frustrated during the second or the third act. A new identity does not emerge to serve as a guideline for directing the audience's anticipations. The audience cannot reconcile the Duke's inclination for manipulation and his questionable morals with the role of the conventional Disguised Ruler of romance.
The most distinctive form which distinguishes this play from other comedies is that the final scene of the play is open-ended. The play frustrates the audience's expectations by ending inconclusively. The audience leaves the theater without the comfort of a genuine resolution often because the seemingly happy endings seem to be only mechanical results of the plot. Marriage, for example, is usually the most satisfactory comic conclusion in romance. But the marriages at the end of Measure jar Measure produce the opposite effect on the audience.
The ending of Measure for Measure leaves the audience disconnected, so the audience remains in a state of indecision. The audience leaves the theater unable to solve the dilemma of the play's ending. In a sense, the play continues to involve the audience with the play precisely because it lacks the solution. Shakespeare keeps the audience concerned with the dilemma which the play causes after the audience leaves the theater. Thus this play, Measure for Measure, is Shakespeare's highly experimental one.
Measure for Measure initially draws the attention of the audience, but after the opening act of the play, the audience's relationship to the play begins to change. The audience's expectations, based on its assumption that this play is romance, are soon frustrated during the second or the third act. A new identity does not emerge to serve as a guideline for directing the audience's anticipations. The audience cannot reconcile the Duke's inclination for manipulation and his questionable morals with the role of the conventional Disguised Ruler of romance.
The most distinctive form which distinguishes this play from other comedies is that the final scene of the play is open-ended. The play frustrates the audience's expectations by ending inconclusively. The audience leaves the theater without the comfort of a genuine resolution often because the seemingly happy endings seem to be only mechanical results of the plot. Marriage, for example, is usually the most satisfactory comic conclusion in romance. But the marriages at the end of Measure jar Measure produce the opposite effect on the audience.
The ending of Measure for Measure leaves the audience disconnected, so the audience remains in a state of indecision. The audience leaves the theater unable to solve the dilemma of the play's ending. In a sense, the play continues to involve the audience with the play precisely because it lacks the solution. Shakespeare keeps the audience concerned with the dilemma which the play causes after the audience leaves the theater. Thus this play, Measure for Measure, is Shakespeare's highly experimental one.
목차
등록된 정보가 없습니다.
참고문헌 (19)
참고문헌 신청
1. [단행본] - Booth, Stephen / 1940 / On the Value of Hamlet. Reinterpretations of Elizabethan Drama / Columbia UP
2. [단행본] - Burke, Kenneth / 1941 / The Philosophy of Literary Form / Random House
3. [단행본] - Campbell, O. J. / 1938 / Comicall Satyre and Shakespeare's Troilus and Cressida / Adcraft
4. [단행본] - Cohen, Derek / 1993 / The Politics of Shakespeare / St. Martin's
5. [단행본] - Doran, Madeleine / 1954 / Endeavors of Art: A Study of Form in Elizabethan Drama / Wisconsin UP
2. [단행본] - Burke, Kenneth / 1941 / The Philosophy of Literary Form / Random House
3. [단행본] - Campbell, O. J. / 1938 / Comicall Satyre and Shakespeare's Troilus and Cressida / Adcraft
4. [단행본] - Cohen, Derek / 1993 / The Politics of Shakespeare / St. Martin's
5. [단행본] - Doran, Madeleine / 1954 / Endeavors of Art: A Study of Form in Elizabethan Drama / Wisconsin UP
함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
관객반응을 위한 현대 극작가의 예술적 의식과 기법
현대영미드라마
2000 .04
-
Theatre of the Audience : English Early Modern Theatre and Korean Ground Theatre
동서비교문학저널
2009 .12
-
Shakespeare's Stage and Audience
Shakespeare Review
1987 .08
-
고려 元宗·忠烈王대의 親朝외교
한국사연구
2017 .06
-
연극으로서의 텍스트—ꡔ난 아니야ꡕ
영어영문학21
2006 .01
-
셰익스피어 공연에서의 수행적 실험과 포스트모던적 현대성 —제의적 수행에서 관객이 ‘쓰는’ 놀이적 수행까지
고전 르네상스 영문학
2010 .01
-
쓰기 과제의 독자 상세화에 따른 초등학생의 독자 고려 양상과 인식 연구
작문연구
2018 .01
-
극중극으로서의 역할 놀이: 십이야의 비올라와 말보리오의 경우
고전 르네상스 영문학
2007 .01
-
이아고의 극에 잠식된 극중 관객 오셀로
고전 르네상스 영문학
2009 .01
-
동시대극의 관객역할 연구 –펀치드렁크 극단의 <슬립 노 모어>를 중심으로
공연문화연구
2020 .01
-
Twentieth-Century Western Drama : Its Religious Thrust And Multi-Cultural Audiences
현대영미드라마
2004 .04
-
The Audience as a Force for Preservation : A Typology of Audiences for the Traditional Performing Arts
Korea Journal
2016 .06
-
Audience Design in Translation : A Frame-Based Approach
번역학연구
2003 .03
-
討論이 意思決定에 미치는 影響
어문론집
2007 .03
-
聞き手の行動における会話の参加度合いの多様性
일어일문학
2017 .08
-
사무엘 베케트의 『난 아니야』 연구 : 관객의 경험을 중심으로
새한영어영문학
2001 .06
-
"아주 의심스러운""옛 이야기" : 『페리클레스』와『겨울 이야기』에서의 생소화 효과
Shakespeare Review
2012 .03
-
독자 고려가 대학생의 논증적 글쓰기에 미치는 영향 - 예상 독자와의 입장 차이를 중심으로 -
작문연구
2019 .01
-
분노와 제의의 비극 : 본드의 Grandma Faust, The Swing, 그리고 Stone을 중심으로
현대영미드라마
2001 .04
이 논문의 저자 정보
이 논문과 함께 이용한 논문
『리처드 3세』(Richard III)에 나타난 악의 비전 : 반복과 고착, 무와 무능
김문규
Shakespeare Review
2015
.12
연극에서 관객의 존재와 위상 : 팀 크라우치의 〈디 오써〉를 중심으로
박연숙
공연과이론
2011
.06
영국 르네상스 복수비극의 전복적 욕망
강석주
Shakespeare Review
2010
.12
The Tragic Vision in Greek Tragedy, Shakespearean Tragedy and Noh Drama
Dongwook Kim
Shakespeare Review
2010
.06
21세기 셰익스피어 원저자론 논쟁 : 소네트를 중심으로
한영림
Shakespeare Review
2010
.06
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2010-840-002482769