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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
- 2013.6
- 수록면
- 249 - 274 (26page)
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초록· 키워드
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Korean theatre, which has produced more than 400 Shakespearean works during the last two decades, has been continuously trying to Koreanize Shakespeare in various ways. One of the most notable approaches of Koreanization mixes gut (Korean shamanic ritual) with Shakespeare. Applying gut to Shakespeare carries more meaning than Koreanizing Shakespeare externally because it steps beyond employing such traditional Korean theatre forms as ‘talchum’ (mask dance), ‘kkokdugaksi noreum’ (puppet theatre), ‘madangnori’ (yard play) to constitute cultural, philosophical, and religious codes in connection with shamanism. Gut also creates a specific theatrical style.
There are two ways to incorporate gut into Shakespeare. One is to bring Shakespeare into gut, and the other is to bring gut into Shakespeare. The former performs gut as it already exits in a Shakespeare play, and the latter performs gut figuratively by fusing it into a Shakespeare play. Recently, two Shakespearean productions seem to typify these two trends: Yang Jung-ung’s Hamlet for the former and Oh Tae-suk’s The Tempest for the latter. Even though their approaches for gut are quite different, they have common points in using gut throughout the play and realizing the meanings and the functions of gut on the stage. Through a dramaturgical analysis of these two productions with focus on gut, this article examines the significance and role, and the possibilities of gut in Koreanizing Shakespeare.
There are two ways to incorporate gut into Shakespeare. One is to bring Shakespeare into gut, and the other is to bring gut into Shakespeare. The former performs gut as it already exits in a Shakespeare play, and the latter performs gut figuratively by fusing it into a Shakespeare play. Recently, two Shakespearean productions seem to typify these two trends: Yang Jung-ung’s Hamlet for the former and Oh Tae-suk’s The Tempest for the latter. Even though their approaches for gut are quite different, they have common points in using gut throughout the play and realizing the meanings and the functions of gut on the stage. Through a dramaturgical analysis of these two productions with focus on gut, this article examines the significance and role, and the possibilities of gut in Koreanizing Shakespeare.
목차
1. 들어가는 말: 굿과 한국 셰익스피어
2. 굿 속으로 들어간 셰익스피어: 양정웅의 〈햄릿〉
3. 셰익스피어 속으로 들어간 굿: 오태석의 〈템페스트〉
4. 나오는 말
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