공연《Faust 1+2》에서 물을 활용한 시각화 과정에 대한 연구 -표현방법에 대하여- = A Study on The Visualization Process with Water in《Faust 1+2》- focus on the expression-

다국어 초록 (Multilingual Abstract)

What I agonized most making.Faust 1+2.was how I could convey to the audience images depicted in the huge play, and it was my task as a director and set designer. Reading the play.Faust., actors, actresses and staff all created stage images together, and I made the performance.Faust 1+2.doing tests with actors and actresses. I wanted to convey poetic images I felt from the audience, rather than literarily reading the huge.Faust.of Goethe. I needed processes of looking for the poetic image. This becomes an important key to see.Faust.from a “Unitarier” art perspective and to investigate its structure. The key incident in the first part works as a motif, and it was repeated and heightened to be reproduced in the second part. This is a study on the visualization process looking for a property symbolizing “nature” of the stage, which goes through the first and the second parts of the performance.Faust 1+2.. Using water as a material, it tried to play a variation of various stage spaces, according to situations where a human Faust was placed, who wandered and strived. Faust tried to jump over four elements to overcome his own limitations, but he was finally defeated by the water, one of the four elements. Water has a feature of “flowing” and symbolizes “the ultimate change”. Change not only produces something but inevitably, also destroys. It resembles Dr. Faust` journey. According to the shape of a space, water is called as a spring, pond, river or sea. This is identical with the image of the whole performance that when Faust makes an effort through actions although he agonizes, he can be changed and meet the beautiful moment at the last minute. This performance tried to make poetic experience more through poetic images on the stage space, rather than through literary dialogue. Based on the original play, this sorted each chapter into fact and supposition and schematized them to be useful for creation. Sitting round and making models for stages, actors, actresses and staff tried to share the visualization process, so that they could make the performance closely related with acting.

참고문헌 (Reference)

• 1 Johann Wolfgang von Goethe, "파우스트 하나의 비극" 시와진실 2000
• 2 이인웅, "파우스트 그는 누구인가?" 문학동네 2006
• 3 Johann Wolfgang von Goethe, "파우스트" 문학동네 2010
• 4 Johann Wolfgang von Goethe, "파우스트" 민음사 1999
• 5 Johann Wolfgang von Goethe, "중학생이 보는 파우스트" 신원문화사 2010
• 6 김경훈, "정지용의 시가에서의 “물” 이미지 연구" 국어국문학회 (162) : 271-283, 2012
• 7 George Hart, "이집트신화" 범우사 1998
• 8 김호기, "예술로 만난 사회" 돌베개 2014
• 9 "세계대백과사전" 동서문화 1993
• 10 Steven Solomon, "물의 세계사" 민음사 2013
• 11 안동 임하호 물문화협의회, "물의 문화와 생명성"" 민속원 2011
• 12 이원양, "괴테의《파우스트》공연사" 11 : 1999
• 13 장영란, "고대 그리스 신화의 물의 상징과 이미지의 변용" 인문콘텐츠학회 (31) : 35-55, 2013
• 14 임한순, "『파우스트』의 자연상징 - 자연[산수]개념의 보편성과 관련한 문화상호적 시도" 독일어문화권연구소 (20) : 189-222, 2011
• 15 Peter Matussek, "Naturbild und Diskursgeschichte, Faust-Studie zur Rekonstruktion asthetischer Theorie" Metzler 1992
• 16 "Johann Wolfgang von Goethe & Werke, Hamburger Ausgabe" C. H. Beck 1988
• 17 Gert Mattenklott, "Faust. In: Goethe-Handbuch in 4 Bdn., Bd. 2. Dramen. Hg. von Theo Buck" Metzler 1998