새로운 체홉(Новый Чехов)의 실험과 혁신 - 아나톨리 에프로스의 체홉 3부작을 중심으로 (The Experiment and Innovation Bringing Forth New Chekhov - Focusing on Chekhov’s Trilogy reinterpreted by Anatoly Efros)

서지정보

· 발행기관 : 한국연극교육학회
· 수록지 정보 : 연극교육연구 / 28권 / 28호 / 161 ~ 210페이지
· 저자명 : 전정옥

초록

From the middle 1960s, with the background of the Khrushchev Thaw, aspiration for New Chekhov bloomed among Soviet intellectuals. Realization of it functioned as a threshold for them to step over. Though they still repeated all about Chekhov under the tradition of Moscow Academic Art Theatre(MKhAT), on the other hand, they set off in quest of experiment on form in many respects and showed signs of deviation from the aesthetic sacralization of the very text itself. They can be represented by the directors such as Maria Knebel, Georgi Tovstanogov, Anatoly Efros, and Oleg Yefremov. Affected by political fluctuation marked by events such as Stalin’s death and the Khrushchev Thaw, their works deepened to some extent. They shared common interests in taking advantages of Russian classics including Chekhov in order to draw portraits of Russian intellectuals living in the thaw. They tried to pave new ways of interpretation on Chekhov by departing from the very rhythm of living which was the style of MKhAT. The history of Soviet theatre witnessed New Chekhov from their works, encountered new kind of people, and intently listened to their stories.
Anatoly Smeliansky, a Russian theatrical historian, believes without any doubts that New Chekhov appearing from the 60s began with Anatoly Efros(1925-1986)’ Chekhov. Efros’ Chekhov boosted inflection promising New Chekhov, which would live a life over half a century after 1960. Efros dared to call conventional interpretation on Chekhov ‘old custom’ to be thrown away as well as ‘cliché’. He also declared his decisive deviation from moderate living room temperature, interacting with actors in the very rhythm of living, and constraint of MKhAT tradition. His Chekhov, where direct, intense coming and going between protagonists and a variety of emotions erupting from it keep up tension of drama in a quick rhythm, was a unfamiliar kind but realism at a different tempo. Protagonists’ wailing, crying, groaning, sighing, and hysterical sobbing was expression of natural feelings of those who were engulfed by great skepticism about the compromised future and ran into a dead end, deprived of free will.
This paper aims to reconstruct Efros’ Chekhov Trilogy with reference to his written works and his contemporaries’ critical essays on his performances. This reconstruction of his play which is a methodology of critical reading on historical performances would be able to capture experimental and innovative aspects of Efros’ stage which should, after all, be evaluated as ‘New Chekhov' in the view of theatrical history.

영어초록

From the middle 1960s, with the background of the Khrushchev Thaw, aspiration for New Chekhov bloomed among Soviet intellectuals. Realization of it functioned as a threshold for them to step over. Though they still repeated all about Chekhov under the tradition of Moscow Academic Art Theatre(MKhAT), on the other hand, they set off in quest of experiment on form in many respects and showed signs of deviation from the aesthetic sacralization of the very text itself. They can be represented by the directors such as Maria Knebel, Georgi Tovstanogov, Anatoly Efros, and Oleg Yefremov. Affected by political fluctuation marked by events such as Stalin’s death and the Khrushchev Thaw, their works deepened to some extent. They shared common interests in taking advantages of Russian classics including Chekhov in order to draw portraits of Russian intellectuals living in the thaw. They tried to pave new ways of interpretation on Chekhov by departing from the very rhythm of living which was the style of MKhAT. The history of Soviet theatre witnessed New Chekhov from their works, encountered new kind of people, and intently listened to their stories.
Anatoly Smeliansky, a Russian theatrical historian, believes without any doubts that New Chekhov appearing from the 60s began with Anatoly Efros(1925-1986)’ Chekhov. Efros’ Chekhov boosted inflection promising New Chekhov, which would live a life over half a century after 1960. Efros dared to call conventional interpretation on Chekhov ‘old custom’ to be thrown away as well as ‘cliché’. He also declared his decisive deviation from moderate living room temperature, interacting with actors in the very rhythm of living, and constraint of MKhAT tradition. His Chekhov, where direct, intense coming and going between protagonists and a variety of emotions erupting from it keep up tension of drama in a quick rhythm, was a unfamiliar kind but realism at a different tempo. Protagonists’ wailing, crying, groaning, sighing, and hysterical sobbing was expression of natural feelings of those who were engulfed by great skepticism about the compromised future and ran into a dead end, deprived of free will.
This paper aims to reconstruct Efros’ Chekhov Trilogy with reference to his written works and his contemporaries’ critical essays on his performances. This reconstruction of his play which is a methodology of critical reading on historical performances would be able to capture experimental and innovative aspects of Efros’ stage which should, after all, be evaluated as ‘New Chekhov' in the view of theatrical history.

참고자료

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