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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2012.12
- 수록면
- 82 - 114 (33page)
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This paper places the first productions of Tom Stoppard’ early literary/theatrical adaptations and appropriations in their historical and cultural contexts, in order to position Stoppard’ work in the development of modern British theater of the 1960s and 1970s. The study covers three aspects of contextualization. The first part, in relation to Stoppard’ Rosencrantz and Guildenstern Are Dead (1967), looks at changes in the staging of Shakespeare’ plays in England in the 1960s and takes Edward Bond’ Lear (1971) as a point of reference and comparison with Stoppard’ (re)creative re-writing of Shakespeare. The second part, in relation to Stoppard’ Travesties (1974), considers how the British theatrical comedy continued to develop alongside (and despite) the dominant political theater of the 1970s in England. Stoppard’ choice of the genre of intellectual comedy is contrasted to the Brechtian epic dramaturgy used by social-political dramatists such as David Edgar and David Hare. Similarities and distinctions are also drawn with another comedic playwright, Alan Ayckbourn, who also established himself as an astute social commentator while avoiding overtly political content. In the third part of this study, key notions of adaptation or appropriation theories are applied to a reading of Stoppard’ early stage adaptations, demonstrating that they preserve and at the same time revitalize his literary and artistic heritage.
목차
I. 서론
II. 1960년대 셰익스피어극 연출 경향과 『로젠크랜츠와 길덴스턴은 죽었다』
III. 역동적 탈중심화 vs. 비판적 탈신화화 전략: 셰익스피어 다시 쓰기
IV. 1970년대 정치 극작가 동향과 스토파드의 지적 희극 장르 선택
V. 결론
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UCI(KEPA) : I410-ECN-0101-2014-842-000462912