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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
- 2006.9
- 수록면
- 481 - 503 (23page)
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초록· 키워드
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Shakespeare says in Hamlet the purpose of playing is "mirror up to nature, to show virtue her own feature, scorn her own image, and the very age and body of time his form and pressure." Playing Shakespeare should be reflecting the times.
Iraq war must have been one of the most pressing, the most inhuman and the most disastrous social issues in the world since U. S. invaded Iraq on the 20th of March, 2003. Although U. S. has led the war, England dispatched the second biggest troops to Iraq, and South Korea the third biggest. England and South Korea can not be free from the responsibility about the war, even though South Korea's troops have just stayed inside the camp, instead of fighting against Iraqi army.
British theatre's reactions to Iraq war were immediate and hot and of very wide range. Above all, we need to observe the movements of The National Theatre and Royal Shakespeare Company which are representative of British theatre. Nicholas Hytner's first season as artistic director at the National Theatre began with a modern version of Shakespeare's Henry Ⅴ. With its combat gear, video screens, it connected Shakespeare's Agincourt with today's Basra. Especially, as Michael Hubbard points out, the production's use of live TV feeds to broadcast Henry's propaganda recalled addresses given to the Iraqi people by George W Bush and Tony Blair during Iraq war. This production of Henry Ⅴ gave sharp voice to its anti-war agenda. Mearsure for Mearsure, a co-production of Complicite and the National Theatre, which was directed by Simon McBurney, emphasized the horrors of Angelo's prison through some topical touches concerning Iraq war; Angelo was allied with the hypocrisy of George W. Bush, whose image appeared briefly on the video screens during Lucio's lines about a "sanctimonious pirate" and the prisoners, who were severely beaten and tortured, wore the Guantanamo-style orange overalls. Royal Shakespeare Company's productions have seldom tried topical touches about Iraq war. But Othello, directed by Gregory Doran, led the audience to recall Iraq war, even though the moments were brief Othello's camp reminded us of a garrison town in some distant British colony with all wire-compounds and corrugated iron fences. And Islamic women lurked and ran away behind steel netting at the rear when they met the Venetian soldiers's violence. As a result, this production led the British audience to relate Othello's tragedy with Iraqi situation in which British army is involved today.
British Shakespearean productions have shown active and acute reactions against Iraq war as soon as the war broke out in 2003. Their attitudes about urgent social issues like Iraq war remind Korean theatre of what theatre should do.
Iraq war must have been one of the most pressing, the most inhuman and the most disastrous social issues in the world since U. S. invaded Iraq on the 20th of March, 2003. Although U. S. has led the war, England dispatched the second biggest troops to Iraq, and South Korea the third biggest. England and South Korea can not be free from the responsibility about the war, even though South Korea's troops have just stayed inside the camp, instead of fighting against Iraqi army.
British theatre's reactions to Iraq war were immediate and hot and of very wide range. Above all, we need to observe the movements of The National Theatre and Royal Shakespeare Company which are representative of British theatre. Nicholas Hytner's first season as artistic director at the National Theatre began with a modern version of Shakespeare's Henry Ⅴ. With its combat gear, video screens, it connected Shakespeare's Agincourt with today's Basra. Especially, as Michael Hubbard points out, the production's use of live TV feeds to broadcast Henry's propaganda recalled addresses given to the Iraqi people by George W Bush and Tony Blair during Iraq war. This production of Henry Ⅴ gave sharp voice to its anti-war agenda. Mearsure for Mearsure, a co-production of Complicite and the National Theatre, which was directed by Simon McBurney, emphasized the horrors of Angelo's prison through some topical touches concerning Iraq war; Angelo was allied with the hypocrisy of George W. Bush, whose image appeared briefly on the video screens during Lucio's lines about a "sanctimonious pirate" and the prisoners, who were severely beaten and tortured, wore the Guantanamo-style orange overalls. Royal Shakespeare Company's productions have seldom tried topical touches about Iraq war. But Othello, directed by Gregory Doran, led the audience to recall Iraq war, even though the moments were brief Othello's camp reminded us of a garrison town in some distant British colony with all wire-compounds and corrugated iron fences. And Islamic women lurked and ran away behind steel netting at the rear when they met the Venetian soldiers's violence. As a result, this production led the British audience to relate Othello's tragedy with Iraqi situation in which British army is involved today.
British Shakespearean productions have shown active and acute reactions against Iraq war as soon as the war broke out in 2003. Their attitudes about urgent social issues like Iraq war remind Korean theatre of what theatre should do.
목차
Ⅰ. 서론
Ⅱ. 본론
Ⅲ. 결론
인용문헌
Abstract
참고문헌 (14)
참고문헌 신청
[학술지(정기간행물)] - / 2006 / Terror of modern times sets the stage of Greek tragedy -Theatrical revivals seen as direct response to Iraq war : 13 ~
[학술지(정기간행물)] - / 2006 / Othello
[학술지(정기간행물)] - / 2003 / Agincourt, near Basra.
[학술지(정기간행물)] - / 2003 / Henry V 154 : 21 ~ 28
[학술지(정기간행물)] - / 1997 / The Riverside Shakespeare
[학술지(정기간행물)] - / 2006 / Othello
[학술지(정기간행물)] - / 2003 / Agincourt, near Basra.
[학술지(정기간행물)] - / 2003 / Henry V 154 : 21 ~ 28
[학술지(정기간행물)] - / 1997 / The Riverside Shakespeare
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