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외국 연극 및 공연 이론 : 이상적 연극비평의 요건들에 관한 고찰 ( Reflections on the Components of an Ideal Theater Criticism )
분야 예체능 > 연극영화
저자 김미혜(Miy He Kim)
발행기관 한국연극학회
간행물정보 한국연극학 1998년, 제11권 295~331쪽(총37쪽)
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영문초록
In the 18th century, Period of Enlightenment, various kinds of periodicals-daily newspapers, weekly and monthly magazines-began to be issued. It is in these periodicals that articles, reviews and essays on theatre and theatrical events were written, for the first time in the history of theatre. In those days theatre was regarded rather as one of the most important social institutions. One might say, it is following the end of the World War II that theatre was recognized as a purely artistic genre. Since the 18th century a number of reviewers and writers have employed themselves in writing reviews and essays on theatre and theatrical events. They have their own outlook on theatre with a vareity of writing styles. Therefore, it is not easy to discriminate between good and bad reviews. And there have been not a few theatre people who have had negative views of criticism themselves. This essay studies the components of a theatre review, namely description, analysis and appreciation of text, actors and audience, stage setting, costume and make up, lighting, music and sound effect. But it is not the purpose of this essay to present the concrete form or model and the content of a review. Rather, it deals, in the first place, with these components from the aesthetic point of view, undoubtedly in relation to theatre criticism. This essay reconsiders the characteristics of theatre as an artistic genre, namely the transitoriness and uniqueness. The ephemeral nature of a performance leads critics always to deal with the past events. But ironically their reviews would be handed down to the posterity, if they are well written. In this sense, one might say, they are of significance from the cultural-historical point of view. They are different from a video taped performance, which is just of value as a reference material and says accordingly nothing about the tension and excitement during the event. The uniqueness of theatre was, as we know, declared by a few theatre reformers at the beginning of the 20th century. They regarded theatre as not a dependent genre on the literature, but a unique artistic genre. According to their point of view, theatre is neither a combination of various arts, nor a translation or an interpretation of written texts on the stage. Following that point of view, this essay studies the various components of theatre which contribute to the full effect of a performance on the stage. Especially the relationship between a performance and a written text is studied, because traditionally many reviews have paid the most attention to texts. Compared with a text, actors are in fact least touched in many reviews, although they are the most essential part of the theatre and play the most important roles in a performance. They are especially studied in relation to the audience, because the interaction of these two parts is the most significant element which makes a performance meaningful and successful. In the end, this essay studies the qualification and the attitude of a good critic; what she/he is, has an important effect upon what she,/he writes. A reviewer must have aesthetic sense, keen sensibility and strong imaginative power. She/he must be well-informed of history, forms, styles, components of theatre, and of the process of a production. It is needless to say that she/he must, without preoccupation, be open to new experimental trends. Lastly, she/he must be a good writer. She/he has the ability to write understandably to maintain her/his opinions and to make her/his praise and blame persuasive. If a good reviewer writes well, with a consideration to the above-mentioned things, one might call what she/he writes an ideal criticism, in whatever form she/he may review a performance.
 
 
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