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.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2013.8
- 수록면
- 7 - 28 (22page)
이용수
이 논문의 연구 히스토리 (2)
- 이 논문의 후속연구가 궁금하신가요?
- 연관 학술논문 또는 학술발표를 통해 보다 발전된 연구결과를 확인하실 수 있습니다.
- 이 논문의 연구 히스토리 확인하기
초록· 키워드
오류제보하기
Compared to poetry or even novels, drama in the Romantic period has been neglected domestically as well as internationally, despite the fact that more people in London went to theater than in any other time of history. One of the main reasons for this is that Romantic drama does not deal with the universal truth as Shakespeare’s drama did, but only with the topical issues. According to George Steiner, the audience did not treat drama as a festive ritual but just as an entertainment. Second, the Licensing Act of 1737 prohibited theaters from performing legitimate drama, except the two patent theaters, Covent Garden and Drury Lane. Third, theaters started to use stage effects by using animals, water of various devices to make it real for the audience. For these reasons, English scholars have not studied Romantic drama. The aim of paper is to reevaluate and validate the Romantic illegitimate plays.
First of all, it is not fair to downplay Romantic drama by comparing it with Shakespeare’s because every drama has its own value in each literary period as that of the modern period does in our time. The audience in the Romantic era enjoyed drama as an entertainment and did not see it as a festive ritual and accordingly they were actively involved in the performance by shouting and even protesting. It was a significant part of their daily lives, in which they expressed their views on what was going on stage. Second, even though the Licensing Act allowed only two theaters to perform legitimate plays, there were decades of illegitimate theaters around London. Third, those illegitimate theaters developed tricky and brilliant devices to perform illegitimate plays successfully without being caught for the violation of the Licensing Act. Thus, this situation eventually resulted in progress, not regression, of theatrical effects on stage. Fourth, in addition to The Factory Lad written by John Walker, which deals with the politically sensitive issues like the Luddite movement, there were a lot of illegitimate plays on topical issues written by various playwrights such as Richard Sheridan, Joanna Baillie, Elizabeth Inchbald, and Hannah Cowley. They definitely deserve the attention from English scholars.
First of all, it is not fair to downplay Romantic drama by comparing it with Shakespeare’s because every drama has its own value in each literary period as that of the modern period does in our time. The audience in the Romantic era enjoyed drama as an entertainment and did not see it as a festive ritual and accordingly they were actively involved in the performance by shouting and even protesting. It was a significant part of their daily lives, in which they expressed their views on what was going on stage. Second, even though the Licensing Act allowed only two theaters to perform legitimate plays, there were decades of illegitimate theaters around London. Third, those illegitimate theaters developed tricky and brilliant devices to perform illegitimate plays successfully without being caught for the violation of the Licensing Act. Thus, this situation eventually resulted in progress, not regression, of theatrical effects on stage. Fourth, in addition to The Factory Lad written by John Walker, which deals with the politically sensitive issues like the Luddite movement, there were a lot of illegitimate plays on topical issues written by various playwrights such as Richard Sheridan, Joanna Baillie, Elizabeth Inchbald, and Hannah Cowley. They definitely deserve the attention from English scholars.
목차
Ⅰ. 서론
Ⅱ. 불법 드라마와 극장
Ⅲ. 불법드라마『공장 사나이』(The Factory Lad)의 정치성
Ⅳ. 결론
인용문헌
Abstract
참고문헌 (26)
참고문헌 신청
1. [학술지(정기간행물)] - Backscheider, Paula R. / 1999 / Reflections on the Importance of Romantic Drama / Texas Studies in Literature and Language 41 (4) : 311 ~ 329
2. [단행본] - Baer, Marc / 1992 / Theatre and Disorder in Late Georgian London / Clarendon Press
3. [단행본] - Booth, Michael R. / 1975 / The Revels History of Drama in English: 1750-1880. Vol. 6 / Methuen
4. [단행본] - Burroughs, Catherine. / 2000 / Introduction, In Women in British Romantic Theatre Drama, Performance and Society, 1790-1840 / Cambridge UP : 1 ~ 22
5. [학술대회논문] - Cave, Richard Allen. / 1986 / Romantic Drama in Performance / The Romantic Theatre: An International Symposium : 79 ~ 104
2. [단행본] - Baer, Marc / 1992 / Theatre and Disorder in Late Georgian London / Clarendon Press
3. [단행본] - Booth, Michael R. / 1975 / The Revels History of Drama in English: 1750-1880. Vol. 6 / Methuen
4. [단행본] - Burroughs, Catherine. / 2000 / Introduction, In Women in British Romantic Theatre Drama, Performance and Society, 1790-1840 / Cambridge UP : 1 ~ 22
5. [학술대회논문] - Cave, Richard Allen. / 1986 / Romantic Drama in Performance / The Romantic Theatre: An International Symposium : 79 ~ 104
이 논문의 저자 정보
이 논문과 함께 이용한 논문
최근 본 자료
댓글(0)
0
UCI(KEPA) : I410-ECN-0101-2014-800-002462927