쉬르레알리즘 연극 - 숀 오케이시의 『요술수탉』 - = Sean O’Casey’s Theatre of Cruelty - Cock-a-Doodle Dandy -

국문 초록 (Abstract)

아일랜드 극작가 숀 오케이시의 『요술수탉』은 그의 초기 사실주의 희곡과 다른 성격의 비사실주의 양식의 연극이면서 새로운 극미학을 개척한 작품이다. 이 논문의 목적은 안토냉 아르토의 잔혹극 이론을 이용하여 오케이시가 구축한 기호의 건축학을 분석하고 평가하는 것이다. 비사실주의 예술은 가시적 외부세계의 모사를 배격하고 물질세계 너머의 존재의 신비와 우주의 비밀을 추적하는 것을 목표로 한다. 칸딘스키 같은 쉬르레알리즘 화가가 의도적으로 이미지를 불분명하고 모호하게 만드는 것은 적어도 예술에서만큼은 물질 세계로부터 과감히 벗어나고 싶은 강렬한 욕망의 결과이다. 그림 감상자는 상형문자와 같은 모호한 상징과 이미지를 보며 일상의 세계를 초월하여 상상의 나래를 마음껏 펼칠 수 있는 자유를 얻는다. 『요술수탉』의 상형문자는 작품 서두에 잠시 나타났다가 사라지는 수탉이다. 수탉은 단순한 동물이 아니라 주인공이 등장하는 나이아드나나베라는 마을에 생명 에너지를 전달하고 생의 기쁨을 회복시키기 위해 나타난 신의 메신저이다. 완고한 도미니어 신부에 의해 추방 당할 때까지 수탉은 로렐린이라는 젊은 여성의 모습으로, 또 마이클의 중절모로 변신을 거듭하며 사람들에게 편협한 종교관에서 벗어나 자연의 에너지를 되찾도록 돕는다. 시도가 실패로 돌아가 수탉정신을 가진 모든 여성과 메신저 로빈이 마을을 떠날 때까지 마을의 남성들은 잠시 동안이나마 갈등과 슬픔이 없는 아름다운 순간을 경험한다.

다국어 초록 (Multilingual Abstract)

This essay aims to examine the artistic effects of Sean O’Casey’s Cock-a-doodle Dandy as a poetry in space with reference to Antonin Artaud’s theory of cruelty. O’Casey’s 1949 play is equipped with a new set of dramatic techniques that are very different than the dramatic techniques in traditional Aristotelian dramas. O’Casey was one of the playwrights and directors who took bold steps to innovate theatre performances by experimenting with new ways to create on stage a three-dimensional architecture of signs made possible by the active participation of the concrete set, lighting, music, and properties during the performance. All the elements in the text and the things on the stage are signs to weave the web of signification on the satge. In Cock-a-doodle Dandy, the rooster that appears prior to the human characters in the beginning of the play is the central symbol and the immanent hieroglyph that defines the spiritual world of the people of Nyadnanave throughout the whole action. The rooster appears and disappears as a mysterious message about the joy of life which ironically disturbs the peace and quiet of the villagers, transforming itself into a young girl, or a silk hat depending on the situation. The human character who represents the rooster is Loreleen who has come to visit her parents after living some time in England. Her visit is a chance for the villagers to revive the repressed joy of life that has been latent in the psyche because of the oppression of free expression of the human instinct by the conservative Catholic church. The male characters including Michael and Mahan have been educated by the clergy of the Catholic church to antagonize women and all the sexual behavior. They see evil spirits in the body parts of women such as their legs, or in their dresses of bright colors. Only once in Act 2 the male characters had a chance to restore the joy of life with the assistance of the female characters, who tempts them to have a drink and dance with the women. Their joy of life reconizing their human instinct does not last long. It is cut short by the appearance of pastor Domineer who is all out to banish not only the rooster and Loreleen from the village and also any other anti-Christian elements. The village becomes the place of death after the departure of the female characters and the messenger Robin.

참고문헌 (Reference)

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