영화 기법과 새로운 무대 드라마의 가능성 : 해롤드 핀터의 Betrayal 을 중심으로 = The effects of film technique on stage drama Betrayal

다국어 초록 (Multilingual Abstract)

This paper deals with the changes that Pinter makes through film technique in structure, narrative and theatrical experience in Betrayal. The technique that Pinter borrows from film is that of timing. This technique of timing has Betrayal's nine scenes flowing more freely in time than other plays. Some scenes go backward and others go forward in time.
Editing is essential to the technique of timing in film. In accordance with a director or a screenwriter's intention of time, scenes caught in some camera angels will be edited. Pinter edits nine scenes of Betrayal just as a film director would. according to $quot;movement in time.$quot; The result is that the nine scenes are not structured in chronological order. In other words, the play is not organically related any more in space or time. Accordingly, time or space is not measured or related as a process of action and reaction.
On the surface Betrayal seems to be a process of action and reaction; a love triangle narrative between two men and one woman. Its plot seems to develop like that of Oedipus Rex. However, if one looks at the play more deeply, it becomes apparent that it is a trick, for even if you go back to the starting point of the triangle relationship, there is no resolution; there is nothing but a void. The void is not made of nihilistic nothing, but is full of desire as the seed of creation. At this moment, the love triangle narrative disappears. A new narrative that resembles Deleuze's time image replaces it. The nine fragmented non-choronogical scenes start to reflect each other like many facets of a scattered crystal. It becomes very difficult to distinguish between the real and reflection. This new narrative makes audience have another experience theatrically different from that of the love triangle narrative.