| |
| 영문초록 |
| Since the mid-1970s, Wilson has been deemed a remarkable, creative, and imaginative director in the sphere of American theater and, indeed, the world over. Creating his own theatrical aesthetics, Wilson has furnished his audiences with wondrous and dream-like time and space. Wilson`s style is distinct from traditional realism styles and from the 1960`s American Avant-garde styles. The thematic focus in my research lies in difference, in other words, in the uniqueness and the creativity of Wilson`s productions. His brand of theater displays aesthetic characteristics that derive from the manners in which he deconstructs and reconstructs languages, sounds, gestures, and movements on stage. Rather than embrace, either in part or in whole, a logical narrative, Wilson carefully and systematically fashions his narratives from collages of various images. For this reason, some people regard his productions as evoking dream-like worlds; on the other hand, others cannot break free from the grip of confusion that arises from the debris of Wilson`s fragmented images. However, there can be little doubt that such images possess an aesthetic structure that originated in Wilson`s desires and views of the world. In Wilson`s works, the symbolic representation of desires and points of view hinge on geometrical images such as the horizontal, the vertical, and the diagonal image. First, the horizontal image is related to temporality. In his theater, objective time and subjective time are juxtaposed with each other as though they represent exterior circumstance and interior consciousness, respectively. The former concerns the time of clocks, which is symbolized by a huge train the latter concerns the time of interiority, which is implied through a selective use of deconstructive-constructive language and through extremely slow movements. Wilson not only manipulates language by conferring to it the properties of sound and rhythm instead of the property of complete meaning, which is supposed to inhere in any adequate meditation on communication, but also experiments with the slow motion movements of his actors in both a temporal and a physical sense. More significantly, such experimental methods and temporal images reflect Wilson`s longing for a time that surpasses the limitations of clock time and reaches toward circular time-space like natural time or ritual time. Second, the symbols that Wilson uses in relation to the vertical image and their relation to spatiality hinge principally on birds but also include bird-like objects such as a spaceship. The existential limitation that is imposed on human beings forces Wilson to dream the bird`s flight. In his works, the presence of human dreaming is revealed through a character who is sitting on a swing or standing on an extraordinarily high crane. On the other hand, trees connote the supplanting of liberation with a captivity that, nonetheless, strives to rise past its roots. Together, these objects are metaphors for flight and transcendence from the earth to endless dream-like worlds. Indeed, the existence of Wilson seems to be embodied in the tree that, with its roots pressing downward, grows branches that longingly reach upward. As identified in the vertical images, Wilson desires another world where people`s freedom and willingness are never oppressed by law, social order, or the logic of language. Third, the diagonal image concerns incomputable, tensional, and unstable situations physically and mentally. Unexpected screaming and unbalanced actors` postures are a kind of embodiment of the diagonal image, which gives Wilson`s productions a strong tension. Generally, the tension is sensed when actions or moods change. As an example, in , Hamlet spreads both his hands like a bird and stands on one foot in stillness. This posture shows a diagonal image that is filled with strong tension. In this scene, his posture implicitly suggests not only his desire to fly and escape from a given situa |
| |
| |
로버트 윌슨, Robert Wilson, 이미지 연극, The Theatre of Image, 수평선의 이미지, Horizontal image, 수직적 이미지, Vertical Image, 대각선의 이미지, Diagonal Image, 시간성, Temporality, 공간성, Spatiality |
| |
| |
| 도움말 |
| 본 논문은 참고용 논문으로 수정 및 텍스트 복사가 되지 않습니다. |
| |
|
 |
|
|
|
|
|
|
|
|
| 저작권 정보 |
|
| 본 학술논문은 한국학술정보㈜ 각 학회간에 저작권 계약이 체결된 것으로 HAPPY학술이 제공하고 있습니다. 본 저작물을 불법적으로 이용시는 법적인 제재가 가해질 수 있습니다. |
|
|
|
분야
0B200381.pdf 
