프쉬돌루스의 희극적 기법 연구

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[Abstract]

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anford UP, 1948.
Hartnoll, Phyllis. A Concise History of the Theatre. Thames and Hudson, 1968.
Hough, J. N. The Composition of the Pseudolus of Plautus, Lancaster, 1931.
Konstan, David. Roman Comedy. London: Cornell UP, 1983.
Moore, Timothy J. The Theatre of Plautus: Playing to the Audience. Austin: U of Texas P, 1988
Plautus, The Pot of Gold and Other Plays, Translated by E. F. Watling, Penguin Books, 1978.
Sandbach, F. H. The Comic Theatre of Greece and Rome. N.Y.: Norton, 1977.
Segal, Erich. Roman Laughter: The Comedy of Plautus. Oxford: Oxford UP, 1987.
[Abstract]
A Study of the Comic Techniques in Plautus's Pseudolus
Miryang Kim
Plautus is the most creative and vigorous writer of Roman comedy. Of all the Greek and Roman writers, he is the least admired and the most imitated. As Erich Segal has pointed out he deserves our careful attention because he is the most successful comic writer in the ancient world. His plays gives us comic catharsis through the plays' wish fulfillment structure, revealing and satisfying our forbidden and suppressed feelings which can not be realized in the real world. His plays enable us to experience freedom of the super ego and to laugh by using various comic techniques such as reversal of roles of master and slave, mistake identity and deception, contrasting pairs of characters, and open structure.
Pseudolus is not only the most amusing plays of intrigue of Plautus but also true to the nature of his laughing comedy. The usual motive of a young master in love with a girl who is about to be sold to a soldier motivates a deception against the slavedealer, which is completely successful. The interest of the spectators throughout the greater part of the dramatic action is directed far more to the success or failure of the deception and the manner in which the impudent slave, Pseudolus, extricates himself from his difficulties than to the lovers and their problems. Pseudolus ridicules the love affairs of his young master, contrives elaborate deceptions against his older master. and the slavedealer, Ballio. The freedom and insolence of the comic slave, his immunity from punishment, combine to paint a picture of slave life that bears little relationship to reality. In this play, mistaken identity is the primary force in developing the complication of the plot, particularly in the relationship between Ballio and Pseudolus. Dramatic tension is heightened by effective and timely use of this technique. Appearance of contrasting pairs of characters, Simo and Callipho, Calidorus and Charinus, Plautus and Simia, Plautus and Ballio, contributes to and enriches the delineation of characters and great complexity in the dramatic action. Open structure with prologue and epilogue, monologue, eavesdropping and asides, entrance and exit announcements is also very effective to break the dramatic illusion, creating a sudden laugh and comic irony. Pseudolus is a play of ingenious plot, amusing characters and an abundance of laughter.

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