『유리동물원』톰 윙필드의 연기 양상 연구 : Michael Kirby의 〈acting and not-acting〉을 중심으로 (A study of The Glass Menagerie Tom Wingfield's acting aspect: Focused on Michael Kirby's 〈acting and not-acting〉)

서지정보

· 발행기관 : 동국대학교 영어권문화연구소
· 수록지 정보 : 영어권문화연구 / 10권 / 3호 / 189 ~ 212페이지
· 저자명 : 조충범, 조준희

초록

In The Glass Menagerie, generally known as a realistic play, Tom is classified as a presentational character and representational one. Tom is distinguished in a role of character from that of narrator. That is, as a character in th play, Tom shows a realistic acting style represented by the Stanislavskii system, while he, as a narrator, has a non-realistic acting style which is typical of Brecht’s alienation effect. Also, from the perspective that Tennessee Williams put a lot of autobiographical stories in the “The Glass Menagerie”, there is a spot where Tom plays as a playwright or director. So that, many critics and directors classify Tom as a character, a narrator, or a writer/director.
The term, “post-drama” extended the notion of plays. It made new ideas about acting without focusing on representational and text-centered tradition. So in this paper, the acting of Tom will be analyzed with a concept of post-drama, sublating traditional concept about acting.
Michael Kirby said five stages of acting in his book, A formalist theatre. He names each stage as ‘Non matrixed performing, Symbolized matrix, Received acting, Simple acting, and Complex acting’. And he also said that the use of imitation, representation, and mimicry increases from non-matrix play to complex acting.
By this study, the acting of Tom which has been considered formally or functionally, will be examined with a new conception applicating Michael Kirby's idea, and also it will be expected to develop a extensive view about acting aspect Tom and directing The Glass Menagerie.

영어초록

In The Glass Menagerie, generally known as a realistic play, Tom is classified as a presentational character and representational one. Tom is distinguished in a role of character from that of narrator. That is, as a character in th play, Tom shows a realistic acting style represented by the Stanislavskii system, while he, as a narrator, has a non-realistic acting style which is typical of Brecht’s alienation effect. Also, from the perspective that Tennessee Williams put a lot of autobiographical stories in the “The Glass Menagerie”, there is a spot where Tom plays as a playwright or director. So that, many critics and directors classify Tom as a character, a narrator, or a writer/director.
The term, “post-drama” extended the notion of plays. It made new ideas about acting without focusing on representational and text-centered tradition. So in this paper, the acting of Tom will be analyzed with a concept of post-drama, sublating traditional concept about acting.
Michael Kirby said five stages of acting in his book, A formalist theatre. He names each stage as ‘Non matrixed performing, Symbolized matrix, Received acting, Simple acting, and Complex acting’. And he also said that the use of imitation, representation, and mimicry increases from non-matrix play to complex acting.
By this study, the acting of Tom which has been considered formally or functionally, will be examined with a new conception applicating Michael Kirby's idea, and also it will be expected to develop a extensive view about acting aspect Tom and directing The Glass Menagerie.

참고자료

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