매체의 연극성과 혼종성의 미학 - 사무엘 베케트의 라디오 드라마와 텔레비전 드라마 고찰 - = Media Theatricality and Aesthetics of Hybridization - Research on the Radio Play and the Television Play by Samuel Beckett -

다국어 초록 (Multilingual Abstract)

In almost all of Samuel Beckett’s theatrical works, the reflection of language and the aesthetics of hybridity appear. Tous ceux qui tombent, radio play is a translation of the English version composed in 1956. Beckett foresees the sound effects giving body to each of the ten characters and constituting a real soundscape, as well as musical accompaniment: the quartet “The young file and the death” of Schubert. Radio was a medium that greatly interested Samuel Beckett. It is undoubtedly this reflection on sound in general, and not on the single voice, which leads him to imagine a room where sound effects will play a crucial role. Cendres, Samuel Beckett’s second radio play, after Tous ceux qui tombent, reminds us once again of his novels; because, although we hear several voices, we have the impression that everything is going on in the mind of Henry, the hero of the book. Sitting on the beach, Henry talks about the good old days when you wanted to be dead. Telling endless stories, talking to his dead, reviving father. For Samuel Beckett, television opens a final representation of time and space. Among the great writers and playwrights of the twentieth century, he is the only one to have used this media apart. Written and transmitted by German television in 1981, Quad was published in 1982. As samuel Beckett says, the television image becomes the last element in the deconstruction of discourse.

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