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
- 2014.12
- 수록면
- 397 - 423 (27page)
이용수
초록· 키워드
오류제보하기
This paper positions Caryl Churchill’s play “A Number” (2002) as a continuation of the playwright’s exloration of socialist/feminist views through theatre. “A Number” is a story about a father who has his son cloned after he fails to upbring his original child up to satisfaction and the outcomes of that cloning. Rather than being a play about the moral issues of cloning, the story asks questions of identity, originality, power, capital, and nature versus nurture. The play is set in a place and time where people are able to “reproduce” without sexual intercourse but are required to pay a hefty fee for the procedure. Churchill asks whether such newfound freedom actually brings more freedom or more oppression to human beings. Throughout the play, the “offspring” of the father confront their situation one by one, pondering whether one can claim originality or whether they can no longer claim authenticity. Unlike a piece of art, whose technical reproduction often lacks the aura of its original, Churchill seems to argue that genes are less important to original identity than experiences are.
The dramaturgy of “A Number” takes a rather extreme departure from Churchill’s earlier and better known plays, as it is set in an ambiguous time and space, and only contains laconic dialogue between four male characters. However, I find “A Number” to be asking the same questions Churchill has asked throughout her repertorie, namely those on power and identity, only through a new appearance. Thus through the absence of the female body on stage, and through the sparse use of language, Churchill is commenting on this new reality in which female bodies are only needed for their uteri and the shortcomings of language as a tool to properly communicate one’s feelings and identities. The absence of stage directions also seem to make room for imagination of directors and actors who may produce the play, thus providing DNA for a play and asking other artists to give it an original identity through their own experiences.
The dramaturgy of “A Number” takes a rather extreme departure from Churchill’s earlier and better known plays, as it is set in an ambiguous time and space, and only contains laconic dialogue between four male characters. However, I find “A Number” to be asking the same questions Churchill has asked throughout her repertorie, namely those on power and identity, only through a new appearance. Thus through the absence of the female body on stage, and through the sparse use of language, Churchill is commenting on this new reality in which female bodies are only needed for their uteri and the shortcomings of language as a tool to properly communicate one’s feelings and identities. The absence of stage directions also seem to make room for imagination of directors and actors who may produce the play, thus providing DNA for a play and asking other artists to give it an original identity through their own experiences.
목차
I. Preface
II. Events Leading to A Number
III. Technological Reproduction and Original Identity
IV. Bodily Representation
V. The Text as DNA
Works Cited
Abstract
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UCI(KEPA) : I410-ECN-0101-2016-842-001022734