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??The play texts of English early modern theatre and Korean ground theatre in 1970s and 1980s are primarily for performance. Theatrical performance inevitably presupposes the audience. Thus, both theatres might well understood as the theatre of the audience in this respect. Therefore, how to accommodate the audience to the world of play comes to be primary concern of performance.
? To accommodate the audience to the play world, both theatres tried out new experimentation. In this paper, the new experimentation of both theatres are scrutinized to illustrate the similarities between two theatres. In Fulgens and Lucres and Jindongah Gut, a certain dramatic character plays a role of mediator between the world of play and the real world. In both plays, it is clearly demonstrated that the audience has an overall control over the performance and the moderator, as an actor as well as a member of the audience, are mediating the world of play and the real world of the audience from the viewpoint of the audience.
??The Old Wife’s Tale and Jinohgui Gut are approached from the perspective of the audience within the audience. The unique dramatic characters, the narrator in The Old Wife’s Tale and the commentator in Jinohgui Gut, dominate the general progress of the performance to a large extent. Both of the characters are neither the characters of the main play nor the audience of the main play. They move from the world of play and the real world, in other word, they are between the two worlds. They sit on the margin of the stage. Thus, the position of these two characters also reinforces their role from the audience’s viewpoint.
??Two Shrew Plays are scrutinized to clarify the frame structure of Shakespearean theatre. Even though it is traced that the focus is moved from the audience to dramatic illusion, the audience perspective is still recognized in Shrew Plays. In Korean ground theatre, the general framing structure is very notable: Apuri, Bonpuri and Duepuri. The frame structure of Shakespearean theatre and Korean ground theatre also illustrate that their primary emphasis is put on the audience. Even though two theatres are very different in period and the subject matters, there are lots of similarities when they are approached from the viewpoint of the audience.
? To accommodate the audience to the play world, both theatres tried out new experimentation. In this paper, the new experimentation of both theatres are scrutinized to illustrate the similarities between two theatres. In Fulgens and Lucres and Jindongah Gut, a certain dramatic character plays a role of mediator between the world of play and the real world. In both plays, it is clearly demonstrated that the audience has an overall control over the performance and the moderator, as an actor as well as a member of the audience, are mediating the world of play and the real world of the audience from the viewpoint of the audience.
??The Old Wife’s Tale and Jinohgui Gut are approached from the perspective of the audience within the audience. The unique dramatic characters, the narrator in The Old Wife’s Tale and the commentator in Jinohgui Gut, dominate the general progress of the performance to a large extent. Both of the characters are neither the characters of the main play nor the audience of the main play. They move from the world of play and the real world, in other word, they are between the two worlds. They sit on the margin of the stage. Thus, the position of these two characters also reinforces their role from the audience’s viewpoint.
??Two Shrew Plays are scrutinized to clarify the frame structure of Shakespearean theatre. Even though it is traced that the focus is moved from the audience to dramatic illusion, the audience perspective is still recognized in Shrew Plays. In Korean ground theatre, the general framing structure is very notable: Apuri, Bonpuri and Duepuri. The frame structure of Shakespearean theatre and Korean ground theatre also illustrate that their primary emphasis is put on the audience. Even though two theatres are very different in period and the subject matters, there are lots of similarities when they are approached from the viewpoint of the audience.
목차
Ⅰ. Introduction
Ⅱ. The mediator between the world of play and reality
Ⅲ. Audience within audience
Ⅳ. The Frame Structure
Works Cited
Abstract
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