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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
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Although Dostoevsky was not a playwriter, theatrical persons have been interested in his novels. Such interests were firstly caused by the theatrical peculiarity shown in Dostoevsky's works. However, literary peculiarity was entirely different from the real plays, and so it has been difficult to dramatize Dostoevsky's novels always. For instance, staging Petersburg theme is very such a problem. The Petersburg in Dostoevsky's works is closely related to the ontology of hero. It is hard for the ordinary to settle in Petersburg. Its life is always between existence and nonexistence as well as reality and reverie, and the heroes become the men who stand on a borderland, a threshold or a crisis.
It was impossible to stage the space of Petersburg in which the borderland of reality and reverie is not being, as the aesthetics of stage is based on realistic delineation. Considering the stage aesthetics of Dostoyevsky's initial works, the dismal city had been habitually delineated to be realistic and conventional. On the other hand, the theatrical persons, who had been active after the death of Iosif Vissarionovich Stalin, had attempted to express the Petersburg theme with the object of revealing Dostoyevsky's real sentiment. Zavadsky, Fokin, Liubimov, et al. were representative producers. They intended to stage symbols, atmospheres and essence shown in his novel, and succeeded in staging the spaces that express the significance of playas to development.
Moscow's Kama Ginkas succeeded to such an attempt after Perestroyka. His Dostoyevsky trilogy, such as "Notes from the Underground (1988)", "Play 'Crime' (1991)" and "K.I. from 'Crime' (1994)," showed new possibility on the stage aesthetics of Dostoyevsky. Also, these works are called "Petersburg trilogy' because those were based on dealing with Petersburg theme; the ontology of characters, their phantasm, dualism and polarity, not because the background of originals were all based on Petersburg. In particular, it was significant to focus on the spiritual relation between spaces and the hero. Namely, the dualism between reality and reverie was expressed to be the dualism of space itself and characters' uncertainty. Moreover, Ginkas developed such into spectators' experience. Such an attempt is related to the problem between play and space, the relation between players and spectators in a space and Petersburg theme; especially, the realization of polarity and histrionics that had been continuously attempted by Ginkas.
What literary works meet with other arts is a mutual tension as well as new explosive power. This is to criticize the literary text firstly; at the same time, it is to create new ideal, artistic inspiration and the multiplication of significance. In order to harmonize a play with a literary work, the preceding factors should be significantly considered. Ginkas' Dostoyevsky trilogy shows a significant attempt on these problems.
It was impossible to stage the space of Petersburg in which the borderland of reality and reverie is not being, as the aesthetics of stage is based on realistic delineation. Considering the stage aesthetics of Dostoyevsky's initial works, the dismal city had been habitually delineated to be realistic and conventional. On the other hand, the theatrical persons, who had been active after the death of Iosif Vissarionovich Stalin, had attempted to express the Petersburg theme with the object of revealing Dostoyevsky's real sentiment. Zavadsky, Fokin, Liubimov, et al. were representative producers. They intended to stage symbols, atmospheres and essence shown in his novel, and succeeded in staging the spaces that express the significance of playas to development.
Moscow's Kama Ginkas succeeded to such an attempt after Perestroyka. His Dostoyevsky trilogy, such as "Notes from the Underground (1988)", "Play 'Crime' (1991)" and "K.I. from 'Crime' (1994)," showed new possibility on the stage aesthetics of Dostoyevsky. Also, these works are called "Petersburg trilogy' because those were based on dealing with Petersburg theme; the ontology of characters, their phantasm, dualism and polarity, not because the background of originals were all based on Petersburg. In particular, it was significant to focus on the spiritual relation between spaces and the hero. Namely, the dualism between reality and reverie was expressed to be the dualism of space itself and characters' uncertainty. Moreover, Ginkas developed such into spectators' experience. Such an attempt is related to the problem between play and space, the relation between players and spectators in a space and Petersburg theme; especially, the realization of polarity and histrionics that had been continuously attempted by Ginkas.
What literary works meet with other arts is a mutual tension as well as new explosive power. This is to criticize the literary text firstly; at the same time, it is to create new ideal, artistic inspiration and the multiplication of significance. In order to harmonize a play with a literary work, the preceding factors should be significantly considered. Ginkas' Dostoyevsky trilogy shows a significant attempt on these problems.
목차
Ⅰ. 들어가는 말
Ⅱ. 도스토예프시키 연극의 공간 미학
Ⅲ. 카마 긴카스의 도스토예프스키 3부작
Ⅳ. 나오는 말
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