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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.8
- 수록면
- 147 - 168 (34page)
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This essay explores the fault line between the 19th Century European theatre saturated in the convention of Sardoodedom and the modern theatre launched by Henrik Ibsen. The thrust of argument is directed to what has transpired in the notion of plot structure i. e., a substitution of "discussion" for "denouement" in terms of Aristotelian plot structure. George Bernard Shaw, a self-avowed Ibsenite preacher in Britain highlights this change of plot structure as a hallmark of modernity on stage in the course of preaching didactic drama.
Shaw's contemporary stage is inundated with cheap romantic comedies fettered by the convention of Well-made play. In an attempt to debunk this "ridiculous" convention, Shaw proposes to emulate Ibsen's dramaturgy in terms of "discussion" and "naturalism," which would guarantee to elevate the role of stage to "a temple of the Ascent of Man" like a church or school. His dramatic experiment under the tutelage of Ibsenism is pervasive in most of the significant works in his dramatic career: ranging from those included in Plays Unpleasant (Widower' House, The Philanderer, Mrs. Warren's Profession) to those discussion scenes in Saint Joan, Heartbreak House, and Man and Superman. In a sense, Shaw gives up the process of plot development while enjoying the digression of "cerebral capers in inconsiderate exuberance."
In this essay, I have made a comparative analysis of Shaw's Pygmalion and Ibsen's A Doll's House with a view to illuminating the relationship of influence as well as the nature of modernity on stage at the turn of this century. Focused on a single issue i. e., Nora's battle to find herself, the discussion initiated by Nora in A Doll's House is impregnated with dramatic ironies and trenchant criticism of the contemporary structure of patriarchy. However, diluted and contaminated by Eliza's romantic sentiment toward Higgins, the discussion transpiring between Eliza and Higgins is insipid and unconvincing, In a final analysis, the introduction of discussion in Pygmalion falls short of achieving didactic purpose or dramatic pleasure, which has canonized A Doll's House as world masterpiece.
Shaw's contemporary stage is inundated with cheap romantic comedies fettered by the convention of Well-made play. In an attempt to debunk this "ridiculous" convention, Shaw proposes to emulate Ibsen's dramaturgy in terms of "discussion" and "naturalism," which would guarantee to elevate the role of stage to "a temple of the Ascent of Man" like a church or school. His dramatic experiment under the tutelage of Ibsenism is pervasive in most of the significant works in his dramatic career: ranging from those included in Plays Unpleasant (Widower' House, The Philanderer, Mrs. Warren's Profession) to those discussion scenes in Saint Joan, Heartbreak House, and Man and Superman. In a sense, Shaw gives up the process of plot development while enjoying the digression of "cerebral capers in inconsiderate exuberance."
In this essay, I have made a comparative analysis of Shaw's Pygmalion and Ibsen's A Doll's House with a view to illuminating the relationship of influence as well as the nature of modernity on stage at the turn of this century. Focused on a single issue i. e., Nora's battle to find herself, the discussion initiated by Nora in A Doll's House is impregnated with dramatic ironies and trenchant criticism of the contemporary structure of patriarchy. However, diluted and contaminated by Eliza's romantic sentiment toward Higgins, the discussion transpiring between Eliza and Higgins is insipid and unconvincing, In a final analysis, the introduction of discussion in Pygmalion falls short of achieving didactic purpose or dramatic pleasure, which has canonized A Doll's House as world masterpiece.
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