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
This article closely reads how the 2012 Korean production of David Henry Hwang’s M. Butterfly stages the script and how it interprets and materializes the essential themes of the work. The oval framed stage on the second floor displays the image of a mystical Oriental woman, Butterfly/Cio-Cio-San. However, in the ending scene, Song wears a man’s-suit and looks down on Gallimard from above, calling him “butterfly.” Similarly, Song as Cio-Cio-San performs the death scene in the opera Madame Butterfly on a flight of stairs, but theses stairs are transformed into a courthouse where Monsieur Song commandingly stands as a man. By juxtaposing different scenes on the same spot or with the same set pieces realigned, M. Butterfly effectively represents the power/gender reversal between Gallimard/Western and Song/Oriental.
M. Butterfly foregrounds a mirror-relationship between Gallimard and Song in order to capture their intersubjectivity, which is germane to the play and the production’s focus on gender ambiguity. In this respect, Gallimard (who is short) and Song (who is tall) subvert the stereotypical assumption of Western and Asian men; this reversal also foreshadows their later gender-crossing. In addition, staging the double/clone scenes underlines Gallimard and Song’s inseparable subjectivity.
Though not indicated in the published playscript, this production of M. Butterfly presents a scene where Song washes Gallimard’s feet as a submissive gesture to fulfil Gallimard’s fantasy of the “Perfect Woman,” which links Song’s gender/racial performance with the fact that he is also acting as a spy. Also, in this staging of Hwang’s play, Gallimard kills himself with a piece of glass (a shard from a mirror) instead of a knife. However, in this production’s staging, since Song does not leave his kimono and wig on the floor during his change, Gallimard does not wear Song’s kimono at the death scene (as the playscript calls for). Therefore, M. Butterfly fails to poignantly illustrate that Gallimard’s “melancholic incorporation” is acted out by means of sharing their clothing as a mask that disguises them both.
M. Butterfly foregrounds a mirror-relationship between Gallimard and Song in order to capture their intersubjectivity, which is germane to the play and the production’s focus on gender ambiguity. In this respect, Gallimard (who is short) and Song (who is tall) subvert the stereotypical assumption of Western and Asian men; this reversal also foreshadows their later gender-crossing. In addition, staging the double/clone scenes underlines Gallimard and Song’s inseparable subjectivity.
Though not indicated in the published playscript, this production of M. Butterfly presents a scene where Song washes Gallimard’s feet as a submissive gesture to fulfil Gallimard’s fantasy of the “Perfect Woman,” which links Song’s gender/racial performance with the fact that he is also acting as a spy. Also, in this staging of Hwang’s play, Gallimard kills himself with a piece of glass (a shard from a mirror) instead of a knife. However, in this production’s staging, since Song does not leave his kimono and wig on the floor during his change, Gallimard does not wear Song’s kimono at the death scene (as the playscript calls for). Therefore, M. Butterfly fails to poignantly illustrate that Gallimard’s “melancholic incorporation” is acted out by means of sharing their clothing as a mask that disguises them both.
목차
Ⅰ. 서론
Ⅱ. 무대 공간 활용과 젠더/권력의 역전
Ⅲ. 거울보기로서의 관계성: 상호주체성과 젠더 모호성
Ⅳ. 희곡과 공연의 비교: 무대화/번역/각색의 효과
Ⅴ. 결론
인용 문헌
Abstract
참고문헌 (19)
참고문헌 신청
1. [인터넷자원] - 권재현 / / [권재현 기자의 망연자실] 나비부인, 이 남자를 통째로 집어삼키다
2. [학술지(정기간행물)] - 김혜진 / 2009 / 데이빗 헨리 황의 『엠. 나비』에 나타난 남성성의 부재 / 영어영문학연구 35 (4) : 17 ~ 38
3. [학술지(정기간행물)] - 박미선 / 2008 / 포스트모던 제국의 우울증: 데이빗 헨리 황의 『엠. 버터플라이』 / 영어영문학 54 (4) : 579 ~ 597
4. [인터넷자원] - 송지혜 / / M. Butterfly 남자의 충격적인 사랑, 김영민, 정동화
5. [단행본] - 에드워드 사이드 / 1995 / 오리엔탈리즘 / 교보문고
2. [학술지(정기간행물)] - 김혜진 / 2009 / 데이빗 헨리 황의 『엠. 나비』에 나타난 남성성의 부재 / 영어영문학연구 35 (4) : 17 ~ 38
3. [학술지(정기간행물)] - 박미선 / 2008 / 포스트모던 제국의 우울증: 데이빗 헨리 황의 『엠. 버터플라이』 / 영어영문학 54 (4) : 579 ~ 597
4. [인터넷자원] - 송지혜 / / M. Butterfly 남자의 충격적인 사랑, 김영민, 정동화
5. [단행본] - 에드워드 사이드 / 1995 / 오리엔탈리즘 / 교보문고
이 논문의 저자 정보
이 논문과 함께 이용한 논문
성, 사랑, 폭력의 노래 : M.Butterfly
윤소영
현대영미드라마
2015
.12
M. Butterfly에 나타난 법의 무대와 무대의 법
한용재
현대영미드라마
2010
.04
캐릭터 성격표현에 의한 제스처 특징 분석 : 영화 〈아바타〉의 ‘나비족’ 캐릭터를 중심으로
이영숙
,
최은진
만화애니메이션 연구
2011
.09
신자유주의 시대 여성 자아 기획의 이중성과 ‘속물’의 탄생 : 베스트셀러 여성 자기계발서 분석을 중심으로
엄혜진
한국여성학
2016
.06
혐오 없이, 혐오 앞에서, 혐오와 더불어 : 한국 LGBT/퀴어 상황을 기록하는 노트
시우
문화과학
2015
.12
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2013-842-003252165