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.
이용수
초록· 키워드
오류제보하기
Samuel Beckett can be considered as one of the dramatists who opened a new wave of theater, ‘the theatre of the absurd’ which negates traditional plot, character, form and development of theme. The theatre of the absurd renounces traditional methods to represent the absurdity of the human condition.
This thesis examines how Beckett's concern for language, form, and gesture leads him to reform and innovate theatrical conventions. In Waiting for Godot, Beckett shows his absurdity dramaturgy in dealing with language, form, and gesture. Beckett attempts to express the tragic condition of human beings, who have lost their meaning of existence, through his unique dramatic language and emphasis of theme in dramaturgy.
Beckett fundamentally deals with modernist problems: alienation, the loss of value and faith. He attempts to destroy the traditional concept of language as a means of understanding in order to represent the alienation embedded in language. Therefore, language as a medium to express ideas and emotion no longer fulfills its function in this play. Language which has been a useful instrument for expressing logic and order is no longer capable of representing the absurd world.
The dialogue represents a linguistic game of an absurd condition ruled by irrational principles. With all the absurdity in language, Beckett's characters are afraid of silence and even insist on dialogue, however their conversations are not a means to strengthen the bond between people, but stands merely as a collection of meaningless sounds. They do not stop talking empty words, although they do admit that the words are meaningless. They have to keep on talking, knowing that it is only a habitual behavior.
The language Beckett's characters use is no longer a transparent means of communication. Beckett's idea of language focuses upon the impossibility of communication. The language of action in Waiting for Godot is revealed within a tragic-comic mode of an impossible communication between Vladimir and Estragon. He also presents Vladimir and Estragon as representatives of modern masses who are accustomed to habitual behaviors and lead purposeless and meaningless lives.
Driven from the consciousness of the limits of language, Beckett's form and content are not distinguishable from each other. Waiting for Godot has no explicit plot in the traditional sense. Actions have no logical ties. Instead they are structured by the rules of repetition.
This play breaks from conventions not only in the text, but also in the performance. Beckett uses gestures as a theatrical language in the performance. The gestures have linguistic functions which have multiple significance. The gestures seen in Waiting for Godot are analyzed and classified on the basis of types of symbols. The gestures are considered as an important part of the language to convey its intentions throughout the whole play. The gestures in Waiting for Godot do not have ordinary and simple linguistic functions as commonly appears in conventional realistic theatre.
This thesis examines how Beckett's concern for language, form, and gesture leads him to reform and innovate theatrical conventions. In Waiting for Godot, Beckett shows his absurdity dramaturgy in dealing with language, form, and gesture. Beckett attempts to express the tragic condition of human beings, who have lost their meaning of existence, through his unique dramatic language and emphasis of theme in dramaturgy.
Beckett fundamentally deals with modernist problems: alienation, the loss of value and faith. He attempts to destroy the traditional concept of language as a means of understanding in order to represent the alienation embedded in language. Therefore, language as a medium to express ideas and emotion no longer fulfills its function in this play. Language which has been a useful instrument for expressing logic and order is no longer capable of representing the absurd world.
The dialogue represents a linguistic game of an absurd condition ruled by irrational principles. With all the absurdity in language, Beckett's characters are afraid of silence and even insist on dialogue, however their conversations are not a means to strengthen the bond between people, but stands merely as a collection of meaningless sounds. They do not stop talking empty words, although they do admit that the words are meaningless. They have to keep on talking, knowing that it is only a habitual behavior.
The language Beckett's characters use is no longer a transparent means of communication. Beckett's idea of language focuses upon the impossibility of communication. The language of action in Waiting for Godot is revealed within a tragic-comic mode of an impossible communication between Vladimir and Estragon. He also presents Vladimir and Estragon as representatives of modern masses who are accustomed to habitual behaviors and lead purposeless and meaningless lives.
Driven from the consciousness of the limits of language, Beckett's form and content are not distinguishable from each other. Waiting for Godot has no explicit plot in the traditional sense. Actions have no logical ties. Instead they are structured by the rules of repetition.
This play breaks from conventions not only in the text, but also in the performance. Beckett uses gestures as a theatrical language in the performance. The gestures have linguistic functions which have multiple significance. The gestures seen in Waiting for Godot are analyzed and classified on the basis of types of symbols. The gestures are considered as an important part of the language to convey its intentions throughout the whole play. The gestures in Waiting for Godot do not have ordinary and simple linguistic functions as commonly appears in conventional realistic theatre.
목차
Ⅰ. 서론
Ⅱ. 언어의 부조리성과 부조리한 언어
Ⅲ. 극의 구조 및 행위와 부조리
Ⅳ. 결론
인용문헌
Abstract
참고문헌 (0)
참고문헌 신청함께 읽어보면 좋을 논문
논문 유사도에 따라 DBpia 가 추천하는 논문입니다. 함께 보면 좋을 연관 논문을 확인해보세요!
-
Beckett의 작품에 나타나는 반복의 문제 : "부재"(不在)와의 관계를 중심으로
현대영미드라마
1999 .11
-
사무엘 베케트의 『놀이의 끝Fin de partie』의 극작법 전략
외국문학연구
2001 .06
-
베케트 극에 나타난 반복성의 제의적 의미
현대영미드라마
2001 .10
-
All That Fall에 나타난 움직임과 언어의 무의미성 연구
현대영미드라마
2001 .10
-
Beckett's Players are "not there"
현대영미드라마
1992 .08
-
Waiting for Godot에 나타난 희망의 구조
현대영미드라마
2003 .12
-
베케트의 사이 공간
현대영미드라마
2014 .04
-
Visual Beckett
신영어영문학
2009 .08
-
사무엘 베켓의 정치성
현대영미드라마
2006 .12
-
Waiting for Godot의 시간 : 기억, 습관의 현재, ‘사이’의 시간
현대영미드라마
2012 .12
-
A STUDY ON A CLOSE RELATIONSHIP BETWEEN ANTON CHEKHOV'S THE THREE SISTERS AND SAMUEL BECKETT'S WAITING FOR GODOT BASED ON A NON-ARISTOTELIAN CONCEPT
현대영미드라마
1992 .08
-
베케트의 『고도를 기다리며』와 올비의 『동물원 이야기』에 나타난 혁명성 비교 연구
영어영문학21
2009 .01
-
‘모자’와 ‘장화’ 벗기 : 불교사상으로 읽는 사무엘 베케트의 『고도를 기다리며』
동서비교문학저널
2017 .03
이 논문의 저자 정보
이 논문과 함께 이용한 논문
Waiting for Godot의 시간 : 기억, 습관의 현재, ‘사이’의 시간
윤화영
현대영미드라마
2012
.12
『고도를 기다리며』(Waiting for Godot) : 표시할 수 없는 좌표 속에 육체를 위치시키며
박지숙
신영어영문학회 학술발표회 자료집
2003
.01
Building Multicultural Space At the Scene of the Racial Conflicts : Kimchee and Chitlins and Twiligh
Ki
,
Hyunjoo
현대영미드라마
2014
.04
『고도를 기다리며』-표시할 수 없는 좌표속에 육체를 위치시키며
박지숙
코기토
2002
.12
Waiting for Godot에 나타난 희망의 구조
김희라
현대영미드라마
2003
.12
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2009-842-015464970