Eugene O´Neill과 Sam Shepard의 신화해체와 다의성 : Desire Under the Elms. Buried child를 중심으로 = Polyphony and Deconstruction of Family Myth in Eugene O´Neill and Sam Shepard
저자
이봉환 (진주산업대학교 영어과)
발행기관
학술지명
권호사항
발행연도
1999
작성언어
Korean
KDC
323.000
자료형태
학술저널
수록면
305-325(21쪽)
제공처
소장기관
This thesis studies Eugene O'Neill's Desrie Under the Elms and Sam Shepard's Buried Child to find out the false, hypocritical unreality of American traditional family myth that many people have thought of as the most important basis in their happy lives since they got here searching for the perfect freedom of religion and politics. Most Americans have cherished such a happy myth of family home that has supported the hardened system of social order ingeniously forged by the governing class of capitalism. But O'Neill and Shepard have realized that a happy family myth in modern American society is only an unreal, made-up dream. So they have tried to destruct the illusionary worth-sign system, and to rebuild an appropriate creative myth with powerful primitive sexual energy and dialogical imagination for survival through their representative experimental plays.
While O'Neill and Shepard make such uncontrolled, eccentric, violent and psychological stages that bring both spectators and actors into aphasia and confused embarrassment. Arthur Miller and David Mamet depict the unreal artificiality of American dream myth through Death of a Salesman and Glengarry Glen Ross. In their anti-realistic experimental texts, they sharply indicate that the myth system in family and society must have been forged by absolute leaders of power in religion and politics. This myth goes like this at home and in society : Within the sanctity of the family home and community, there lies security, order, love, understanding, and success; with the presence of these qualities, the home and the community are assured of happiness and success. This kind of forged myth has been cycled and re-cycled since the rise of the middle classes 150 years ago and is still forcefully present with us. It usually gains popularity during conservative periods; the Victorian era and the 1950s are two notable examples. During the 1980s, the Reagan Administration was highly effective in exploiting the myth of family values to further its own conservative policies. Most recently, family values became a rallying cry for the far Right during the 1992 presidential campaign. It is striking that during conservative, even reactionary times, dramatists have written plays that radically re-define the traditional family and social success structure. Invariably, it seems the important motives of psychopathic incest and materialistic desire can be found in these plays. Some of the playwrights who have, in varying degrees, used incest and success desire to attack this myth system are Henrik Ibsen, Strindberg, Bernard Shaw, Tennessee Williams, Harold Pinter, Joe Orton including the above 4 writers. It is true that O'Neill domesticated Greek classical tragedies, Strindbergian domestic drama. Ibsenesque social plays, Irish dramatic tone poems, and expressionist melodramas. Especially, O'Neill uses incest as a potent weapon to frighten the hardened patriarchal system. He knows that it apparently means for anti-family, anti-law, anti-state, anti-God, which is antithetical to everything that this hierarchy represents. That's why Desire Under the Elms has the same primal drives, desires, demons, and taboos found in the plays of Aeschylus, Sophocles, and Euripides.
Shepard's magic realistic dramas are usually composed of polyphonic rhetorics, multiple structure, primitive violence, western myth, cruel performance, parody, transformation, intuition, insight, humor, wit, mystery, silence, collage, and detective story. Influenced by Strindberg. Pirandello, Brecht, Artaud, Nietzsche, O'Neill and Shepard continuously sing American western myth as an alternative of American family's destruction. Although Shepard does not directly refer to Jacques Derrida and Lacan, his intellectual force and dramatic philosophy are similar to Derrida's deconstructionism. We can easily see Dionysian primitive carnivalism and deconstructive signifiant wordplay in the dramatic way that Shepard approaches such texts as cultural mythology, popular culture, and the entire fabric of civilization. Most critics agree that Shepard's plays involve a number of recurring
themes : the waning power of cultural mythology, the decline of the American dream, the questionable value of popular culture, the decay of the family myth. But there is always little agreement as to the importance or the interpretation of these themes. For instance, Shepard repeatedly turns to the mythology of the American west as a source and a subject, but it is never clear whether he praises it for its lost value code or curses it for its importance in the face of popular culture. Even though his strategy is not apparent in directing his plays into super-realistic realm, he likes to draw polyphonic, indeterminate texts in order to show the omnipresent ambiguity and uncertainty of life and reality with post-structuralist differential natures of language.
Recognizing the limitations of Ferdinand de Saussure's Semiotics, structuralistic linguistics based on logocentrism and phonocentrism, Shepard uses Derrida's difference to avoid the well-made play from Aristotle. In Buried Child. Shepard denies such logocentric concepts as truth, reason, origin, author, and work with characters' signifiant wordgame and multiple linguistic rhetorics. Deconstructing these binary metaphysical hierarchies. Shepard wants to recreate a new pleasant playspace with primitive violence, romantic imagination, fancy, dialogical imagination, carnivalism, and multiple structure.
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