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자료유형
학술저널
저자정보
저널정보
동국대학교 영어권문화연구소 영어권문화연구 영어권문화연구 제12권 제3호
발행연도
2019.1
수록면
251 - 274 (24page)

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초록· 키워드

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In this paper, I discuss the ecopolitical and dramaturgical significance of Ha: Breath of Life, a popular show performed daily at The Polynesian Cultural Center in Oahu, Hawai’i, focusing on the show’s central motif of ‘journey.’ Featuring traditional Polynesian music and dances, the play represents a family’s migration in the Pacific region caused by a volcanic eruption. During their sojourns in the six islands of Tonga, Hawai’i, Aoteora, Samoa, Tahiti, and Fiji, the family enjoys the hospitality of local communities and learns about their cultural traditions. From an ecocritical point of view, the repeated sequence of the family’s migration and peaceful integration into a foreign culture showcases a sound engagement with the environment. Rather than conquerors or masters of the new environment that they encounter, the family humbly tries to blend into the new environment and respectfully follows the existing custom of local community as temporary guests. In light of the colonization history of Hawai’i and the ecological crisis fundamentally caused bythe human belief in their superiority to other creatures on the planet, there is much to learn from this attitude of ‘temporary guest.’ In addition to its ecopolitical value, Ha: Breath of Life deserves particular attention due to its dramaturgical significance as an American drama. The show’s sensual and technique-oriented representation of Polynesian cultures and the central theme of ‘ohana’ (universal family) not only widen the spectrum of diversity but also challenge the dominant model of realist family drama in modern American theatre.

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