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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
- 2014.8
- 수록면
- 175 - 208 (34page)
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This paper, which aims to delineate Sarah Ruhl’s unique position in the changing geography of women’s theatre in the U.S. today, investigates how Sarah Ruhl’s plays succeed both tradition of popular theatre and genealogy of feminist theatre with her unique aesthetics of “Ovidian dramaturgy.” First I devise and suggest a new theoretical framework called “feminism 3.0” which allows us to transcend the generational barriers of ‘wave’ model and explore the new territory of “a third space” in which different attitudes and perspectives coexist and interweave one another outside of the linear time. Second, applying the theoretical paradigm into evaluating Ruhl’s dramatic world, I analyze Ruhl’s dramaturgy of convergence and metamorphosis as a significant symptom and crucial example of new popular feminist theatre. Finally in the conclusion, using the critical concept of “affect” and Ranciere’s notions of “ignorant schoolmaster” and “emancipated spectator,” I speculate how Ruhl’s popular feminist drama diverges from the 2nd wave feminism and conventional popular theatre.
Ruhl’s utopian performative is experienced not by political or ethical ideology but primarily through her aesthetic forms that combine sensibles and emotions into a powerful affect. I argue that the emancipated spectator needs centripetal force as well as centrifugal liberation and therefore Ruhl’s Ovidian dramaturgy exemplifies a new possibility of popular feminist theatre that appeals and attracts wide range of spectators and (per)forms a community based on the common yearning for utopia, the vanishing point.
Ruhl’s utopian performative is experienced not by political or ethical ideology but primarily through her aesthetic forms that combine sensibles and emotions into a powerful affect. I argue that the emancipated spectator needs centripetal force as well as centrifugal liberation and therefore Ruhl’s Ovidian dramaturgy exemplifies a new possibility of popular feminist theatre that appeals and attracts wide range of spectators and (per)forms a community based on the common yearning for utopia, the vanishing point.
목차
I. 새라 룰 현상
II. 페미니즘 3.0:제 3의 공간
III. 밀레니엄 여성연극의 지형과 룰의 오비드적 드라마터지
IV. 대중적 페미니즘 연극을 위하여:새로운 구심점을 찾아서
V. 대중적 페미니즘의 가능성: “무지한” 연극과 “해방된” 관객
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Abstract
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UCI(KEPA) : I410-ECN-0101-2015-840-002619028