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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
- 2014.6
- 수록면
- 361 - 381 (21page)
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MJCompany’s production of Hamlet The Actor, the three actor version of Hamlet, was first staged in 2012 and won ‘the 1st Korea Shakespeare Awards’ for Best Young Director and Best Actress. The production was restaged with a new cast in 2013 and attracted the attentions of international Shakespearean scholars in particular, who were invited to attend the International Shakespeare Conference organized by the Shakespeare Association of Korea, delighted with this production as an eye-opener to them, and convinced that Hamlet can be adapted to a purely theatrical play without involving cultural concerns and political arguments.
Hamlet The Actor portrays Hamlet as a player-director, rehearsing with two players his own play on revenge to overcome the state of dissociation and witnessing instead the disastrous effects his revenge might have on his beloved Ophelia. Directing the Hamlet story becomes not about whether to kill Claudius or not, but about whether to continue a rehearsal or not. The play’s adaptive strategy is the making of a classical work, that is, the collaboration between Hamlet and two players; it is characteristic of what distinguishes itself from a metadramatic device. Hamlet relies on the rehearsal process for the realization of his intentions and expects two players to make a creative contribution. Their collaborative work is characterized as a dynamic process of reshaping a classical work by means of stage production. The play’s circular and open-ended structure facilitates the dynamic process and stimulates the audience’s imagination to fill gaps in the story.
Hamlet The Actor portrays Hamlet as a player-director, rehearsing with two players his own play on revenge to overcome the state of dissociation and witnessing instead the disastrous effects his revenge might have on his beloved Ophelia. Directing the Hamlet story becomes not about whether to kill Claudius or not, but about whether to continue a rehearsal or not. The play’s adaptive strategy is the making of a classical work, that is, the collaboration between Hamlet and two players; it is characteristic of what distinguishes itself from a metadramatic device. Hamlet relies on the rehearsal process for the realization of his intentions and expects two players to make a creative contribution. Their collaborative work is characterized as a dynamic process of reshaping a classical work by means of stage production. The play’s circular and open-ended structure facilitates the dynamic process and stimulates the audience’s imagination to fill gaps in the story.
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참고문헌 (13)
참고문헌 신청
1. [기타자료] - 성천모 / 2012 / 햄릿—디 액터 / MJ컴퍼니
2. [기타자료] - MJ컴퍼니 / 2012 / . 예술의 전당 실황 영상
3. [기타자료] - MJ컴퍼니 / 2013 / Hamlet-The Actor: 세상에서 가장 재미있는 비극. 공연프로그램
4. [학술지(정기간행물)] - Crusius, Timothy W. / 1979 / Hamlet and Audience Response / Hamlet Studies 1 (2) : 79 ~ 100
5. [단행본] - Fischlin, Daniel / 2000 / Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present / Routledge
2. [기타자료] - MJ컴퍼니 / 2012 /
4. [학술지(정기간행물)] - Crusius, Timothy W. / 1979 / Hamlet and Audience Response / Hamlet Studies 1 (2) : 79 ~ 100
5. [단행본] - Fischlin, Daniel / 2000 / Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present / Routledge
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UCI(KEPA) : I410-ECN-0101-2015-800-001615773