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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
- 2004.3
- 수록면
- 133 - 152 (20page)
이용수
초록· 키워드
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Peter Brook's King Lear is a drastic innovation whose style resists the traditional artful use of cinema. Insofar as this film is not just a representative adaptation of King Lear but a movie about making movie, it exploits meta-cinematic rhetoric. It is strongly interpretive film in drawing serious critical response from both Shakespearean and film scholars.
Not only had Brook directed the 1962 RSC stage version of King Lear, but prior to that he had acted as co-director for North American television performance with Orson Welles in the title role. Brook's stage production and the film were profoundly influenced by the Jan Kott, whose essay, "King Lear or Endgame," explicitly connects the play with the austere bleakness of Samuel Beckett's Theatre of the Absurd.
Brook's film is textually altered from its source to find visual signifiers for what Shakespeare's words signified. Brook reduces human space to very narrow confines to re-envison Shakespeare's play spatially. The cinematic discursive suppressions seem to mirror the editorial omissions, while foregrounding Shakespeare's theme of suppression. Filmed in North Jutland, Denmark, its black-and-white starkness shows a winter world of ironic despair in grainy texture and deliberate out-of-focus frames shot. The harsh environment is static, a physical universe that is forever winter, pitilessly bleak, frozen, inimical to man. The natural setting of malignant nature and the wintry civilization might be considered a symbolic milieu, harshness of which both reflected and caused man's savagery to man in a space closed off to benevolence. And it also emblemizes Lear's spiritual agony and conveys the distorted nature of his perception as is suggested by Shakespeare's language.
To redirect Shakespeare's epic scale of King Lear into its own filmic idiom, Brook borrows Brecht's Verferndungseffekt, and he breaks further with popular forms by using Godardian cinematic alienation as well. He consistently employs distancing and disorienting techniques throughout the film: complex reverse angle, out-of-focus shots, overhead shots, over-the shoulder shots, zoom-fades, jump-cutting, montage, eyes-only close-ups, accelerated motion, rapid editing, silent-screen titles, printed subtitles, and hand-held cameras as well as immobile ones. Disjointed quality of the film and restless, elliptic, arbitrary camerawork are designed to suggest the rupture and discontinuity in Lear's own grasp of reality and to make audiences uncomfortable.
In Beckett-like play-within-a-play on a bleak beach the mad old king and the blinded Gloucester raise insoluble questions about cause-and-effect, good and evil, but Brook's film doesn't answer the questions. At the end, the ravaged king literally falls further and further from a bright white frame and out of the world as if he looks upward to accept the void itself. And then only a blank screen remains with white nothingness. There is no reassuring message of ultimate harmony as well as no place for discordia concors in this film. Brook's King Lear is a bleak existential tale of meaningless struggle for survival against the empty, hopeless universe and the menace of human indifference or ferocity. Most touches of optimism in the text are cut and the conclusion of the film sums up its absurdist perspective perfectly, a dark and relentlessly ironic vision of the human condition. Brook's version is not merely an alteration of the original but an interpretation of it.
Not only had Brook directed the 1962 RSC stage version of King Lear, but prior to that he had acted as co-director for North American television performance with Orson Welles in the title role. Brook's stage production and the film were profoundly influenced by the Jan Kott, whose essay, "King Lear or Endgame," explicitly connects the play with the austere bleakness of Samuel Beckett's Theatre of the Absurd.
Brook's film is textually altered from its source to find visual signifiers for what Shakespeare's words signified. Brook reduces human space to very narrow confines to re-envison Shakespeare's play spatially. The cinematic discursive suppressions seem to mirror the editorial omissions, while foregrounding Shakespeare's theme of suppression. Filmed in North Jutland, Denmark, its black-and-white starkness shows a winter world of ironic despair in grainy texture and deliberate out-of-focus frames shot. The harsh environment is static, a physical universe that is forever winter, pitilessly bleak, frozen, inimical to man. The natural setting of malignant nature and the wintry civilization might be considered a symbolic milieu, harshness of which both reflected and caused man's savagery to man in a space closed off to benevolence. And it also emblemizes Lear's spiritual agony and conveys the distorted nature of his perception as is suggested by Shakespeare's language.
To redirect Shakespeare's epic scale of King Lear into its own filmic idiom, Brook borrows Brecht's Verferndungseffekt, and he breaks further with popular forms by using Godardian cinematic alienation as well. He consistently employs distancing and disorienting techniques throughout the film: complex reverse angle, out-of-focus shots, overhead shots, over-the shoulder shots, zoom-fades, jump-cutting, montage, eyes-only close-ups, accelerated motion, rapid editing, silent-screen titles, printed subtitles, and hand-held cameras as well as immobile ones. Disjointed quality of the film and restless, elliptic, arbitrary camerawork are designed to suggest the rupture and discontinuity in Lear's own grasp of reality and to make audiences uncomfortable.
In Beckett-like play-within-a-play on a bleak beach the mad old king and the blinded Gloucester raise insoluble questions about cause-and-effect, good and evil, but Brook's film doesn't answer the questions. At the end, the ravaged king literally falls further and further from a bright white frame and out of the world as if he looks upward to accept the void itself. And then only a blank screen remains with white nothingness. There is no reassuring message of ultimate harmony as well as no place for discordia concors in this film. Brook's King Lear is a bleak existential tale of meaningless struggle for survival against the empty, hopeless universe and the menace of human indifference or ferocity. Most touches of optimism in the text are cut and the conclusion of the film sums up its absurdist perspective perfectly, a dark and relentlessly ironic vision of the human condition. Brook's version is not merely an alteration of the original but an interpretation of it.
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