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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2017.6
- 수록면
- 40 - 60 (21page)
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초록· 키워드
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Tragedy was first performed in a tragedy competition at the City Dionysia held around 6th century BCE. As three playwrights who represented the ancient Greek tragedy, Aeschylus (c. 523-456 BCE), Sophocles (c. 496-406 BCE), and Euripides (c. 480-406 BCE) wrote their own versions of Electra, of which comparison can provide an in-depth description of the three writers’ characteristics.
Aeschylus preferred a trilogy in which independent plots are closely linked with one another. The characters in his plays are mythological and superhuman heroes, and his theater includes spectacles. He strengthened dramatic elements by emphasizing chorus and increasing one actor, who converses with a chorus of multiple people, to two actors and reducing the chorus to twelve persons. Sophocles characteristically boasts an exquisite plot. Especially, his dramatic composition wouldn’t pale beside modern-day works. The dramatist pursued a balance between chorus and actors and completed ‘the law of three actors’ by increasing the number of actors performing simultaneously on the stage to three. He increased the number, reduced to 12 by Aeschylus, back to 15. The characters in the plays of Euripides are often portrayed as ordinary human beings with quotidian issues. He is, as it were, modern, in that he delivers many lines that seem to deny gods and is very heterodox and novel in his choice of themes. Emphasizing more actors than chorus, he shows more melodramatic than spectacular tendency.
Comparing the works of the three writers that took on various colors based on one single mythology, I grew interested in the aspects of application and reinterpretation of modern works. While studying Electra re-created by Aeschylus, and his disciple Sophocles, and Euripides from Homer’s works, I wonder in expectation what great modern writer in turn will present a literary vision that figures out the modern by alluding to the ancient.
Aeschylus preferred a trilogy in which independent plots are closely linked with one another. The characters in his plays are mythological and superhuman heroes, and his theater includes spectacles. He strengthened dramatic elements by emphasizing chorus and increasing one actor, who converses with a chorus of multiple people, to two actors and reducing the chorus to twelve persons. Sophocles characteristically boasts an exquisite plot. Especially, his dramatic composition wouldn’t pale beside modern-day works. The dramatist pursued a balance between chorus and actors and completed ‘the law of three actors’ by increasing the number of actors performing simultaneously on the stage to three. He increased the number, reduced to 12 by Aeschylus, back to 15. The characters in the plays of Euripides are often portrayed as ordinary human beings with quotidian issues. He is, as it were, modern, in that he delivers many lines that seem to deny gods and is very heterodox and novel in his choice of themes. Emphasizing more actors than chorus, he shows more melodramatic than spectacular tendency.
Comparing the works of the three writers that took on various colors based on one single mythology, I grew interested in the aspects of application and reinterpretation of modern works. While studying Electra re-created by Aeschylus, and his disciple Sophocles, and Euripides from Homer’s works, I wonder in expectation what great modern writer in turn will present a literary vision that figures out the modern by alluding to the ancient.
목차
Abstract
1. 서론
2. 그리스 비극의 공통된 세 원칙
3. 그리스 비극 작가들의 주요 특징
4. 『엘렉트라』를 통한 세 작가의 스타일 비교 및 의의 도출
5. 결론
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