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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2012.4
- 수록면
- 113 - 139 (27page)
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This paper aims to explore the possibility of performance writing which increasingly goes beyond the dramatic writing and turns toward cross-boundary writing for intermedia performance these days. In particular, Lemann’s concept of chora-graphy related with a series of his arguments about post-dramatic theatre will be observed, as well as the development of performance writing since the European avant-garde.
Based on these, this paper will consider the re-construction of chora-graphy as a strategy for cross-boundary writing specifically: performing writing, writing for space, and writing for the self depending on a series of Plato’s chora, Kristeva’s chora, and Lehmann’s chora-graphy. With deliberation, post-dramatic theatre can only hold the aesthetic criterion; this paper has chosen Kane’s 4. 48 Psychosis to demonstrate how chora-graphy can be used for the playwright’s work.
As Kane’s 4.48 Psychosis reveals itself as a mental space, the chora-graphy here corresponds with mapping the space of awareness in lieu of the development of the situation. The reader’s experience is close to be ‘wading in words’ or ‘sitting in the narrative landscape’ which are transience and ambiguous, and are in flux as the words are situated in the mental space. In this process, the reader or the spectator is not simply spectating the other’s experience, but they are accompanying them as if ‘they are the other face which is pasted on the underside of the mind’.
Based on these, this paper will consider the re-construction of chora-graphy as a strategy for cross-boundary writing specifically: performing writing, writing for space, and writing for the self depending on a series of Plato’s chora, Kristeva’s chora, and Lehmann’s chora-graphy. With deliberation, post-dramatic theatre can only hold the aesthetic criterion; this paper has chosen Kane’s 4. 48 Psychosis to demonstrate how chora-graphy can be used for the playwright’s work.
As Kane’s 4.48 Psychosis reveals itself as a mental space, the chora-graphy here corresponds with mapping the space of awareness in lieu of the development of the situation. The reader’s experience is close to be ‘wading in words’ or ‘sitting in the narrative landscape’ which are transience and ambiguous, and are in flux as the words are situated in the mental space. In this process, the reader or the spectator is not simply spectating the other’s experience, but they are accompanying them as if ‘they are the other face which is pasted on the underside of the mind’.
목차
Ⅰ. 들어가기
Ⅱ. 퍼포먼스 글쓰기로서의 코라-그라피적 글쓰기
Ⅲ. 코라-그라피적 글쓰기로 살펴 본 4.48 Psychosis
Ⅳ. 나가기
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Abstract
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UCI(KEPA) : I410-ECN-0101-2013-842-002906426