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Tom Stoppard’s plays are noteworthy for the manner in which serious ideas are expressed not only through artful language and complex dramatic structures, but also through entertaining stage techniques. This paper examines the playful mode of textual and verbal interweaving in Travesties (1974), awareness of which is as crucial to a balanced appreciation of Stoppard’s dramaturgy as the exploration of debates developed in the play. This study focuses on the varying ways in which Stoppard employs the self-referential, foregrounding device of mise-en-abyme (a memory within a memory, a story within a story, the act of writing within the act of writing, and a-play-within-a play) in order to address a multiplicity of themes and styles in relation to art and politics. It is argued that Stoppard’s playful transposition of ideas and texts illuminates the context-dependent nature of perceptions and the uncertainty of memory, adding a sense of ambiguity and paradox through its infinite regress and suggesting the artificiality of narrative practices, while pointing to the intertextual and interdependent nature of life and literature.
목차
Ⅰ. Introduction
Ⅱ. The Notion of Mise-en-abyme
Ⅲ. Playful Modes of Mise-en-abyme in Travesties
Ⅳ. Conclusion
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UCI(KEPA) : I410-ECN-0101-2012-842-004460714