본문내용
Achievements in Social Anthropology. Tr. Choi Jai Suk. Seoul: IlJi Co., 1995.
Cohn, Ruby. Just Play: Beckett's Theatre. Princeton: Princeton UP, 1980.
Cronin, Anthony. Samuel Beckett: The Last Modernist. Harper, 1997.
Eliade, Mircea. Das Heilige und das Profane. Tr. Lee Eun-bong. Hangilsa P. Co. Ltd., 1998.
Esslin, Martin. The Theatre of the Absurd. Harmondsworth: Penguin Books Ltd., 1968.
Fletcher, Beryl S. Student's Guide to the Plays of Samuel Beckett. London: Faber & Faber Ltd., 1978.
Gordon, Lois. The world of Samuel Beckett 1906-1946. New Haven & London: Yale UP, 1996.
Innes, Christopher. Holy Theatre: Ritual and the Avant Garde. London: Cambridge UP, 1981.
Knowlson, James. et al Frescoes of the Skull: the Later Prose and Drama of Samuel Beckett. New York: Grove P, 1979.
Worth, Jatharine. Samuel Beckett's Theatre: Life Journeys. Oxford: Clarendon P, 1999.
The Ritualistic Meaning of the Repetition in Beckett's Plays
Abstract Jeong-Keun Park
The repetition technique which appears here and there in Beckett's plays may embarass the audience who are familiar to the realistic plays composed on the basis of 'cause and effect'. Even though Beckett's plays are to be classified as absurd drama, it is difficult to find the clue with which the audience can understand the theme in the story of Beckett's plays. It is because Beckett himself endeavored to destroy the previous form of drama and create a new one through modernism. He boldly omitted or minimized the dialogue to develop the story, whereas his strategy could revive the theatrical elements on the stage. Escaping from the realism, which depends on language too much, he showed us versitile theatricality by means of the chemical fusion of sound effects, light, and movements.
In the viewpoint of Beckett, the naked people, facing the existential death, lead their deathlike static life with their illusive masks of civilization torn by the terrible reality. Beckett's characters, losing the religious faith, perform meaningless repetitive acts of ritual like their habits. In this paper, I don't intend to prove whether their salvation can be really achieved or not. The ritualistic acts without any possibility of salvation cannot evade the negative evaluation, but the origin of their lives should exist in their desperate quest for salvation. In this paper, I try to search for ritualistic elements that have made uncertain or transformed in the Beckett's plays, which can be shown in the form of only a few outlines and broken fragments. Modern people in Beckett's plays ought to have frightened the contemporary audience because they lost the identity and immersed in infantile games without knowing how to perform their sincere rituals. Furthermore, they cannot solve the problem of boredom of life with their meaningless games. Notwithstanding, we must create a new meaning from their horrible battle against enormous void by seeking the old form of ritual hidden in the grotesque acts of Beckett's characters.
Cohn, Ruby. Just Play: Beckett's Theatre. Princeton: Princeton UP, 1980.
Cronin, Anthony. Samuel Beckett: The Last Modernist. Harper, 1997.
Eliade, Mircea. Das Heilige und das Profane. Tr. Lee Eun-bong. Hangilsa P. Co. Ltd., 1998.
Esslin, Martin. The Theatre of the Absurd. Harmondsworth: Penguin Books Ltd., 1968.
Fletcher, Beryl S. Student's Guide to the Plays of Samuel Beckett. London: Faber & Faber Ltd., 1978.
Gordon, Lois. The world of Samuel Beckett 1906-1946. New Haven & London: Yale UP, 1996.
Innes, Christopher. Holy Theatre: Ritual and the Avant Garde. London: Cambridge UP, 1981.
Knowlson, James. et al Frescoes of the Skull: the Later Prose and Drama of Samuel Beckett. New York: Grove P, 1979.
Worth, Jatharine. Samuel Beckett's Theatre: Life Journeys. Oxford: Clarendon P, 1999.
The Ritualistic Meaning of the Repetition in Beckett's Plays
Abstract Jeong-Keun Park
The repetition technique which appears here and there in Beckett's plays may embarass the audience who are familiar to the realistic plays composed on the basis of 'cause and effect'. Even though Beckett's plays are to be classified as absurd drama, it is difficult to find the clue with which the audience can understand the theme in the story of Beckett's plays. It is because Beckett himself endeavored to destroy the previous form of drama and create a new one through modernism. He boldly omitted or minimized the dialogue to develop the story, whereas his strategy could revive the theatrical elements on the stage. Escaping from the realism, which depends on language too much, he showed us versitile theatricality by means of the chemical fusion of sound effects, light, and movements.
In the viewpoint of Beckett, the naked people, facing the existential death, lead their deathlike static life with their illusive masks of civilization torn by the terrible reality. Beckett's characters, losing the religious faith, perform meaningless repetitive acts of ritual like their habits. In this paper, I don't intend to prove whether their salvation can be really achieved or not. The ritualistic acts without any possibility of salvation cannot evade the negative evaluation, but the origin of their lives should exist in their desperate quest for salvation. In this paper, I try to search for ritualistic elements that have made uncertain or transformed in the Beckett's plays, which can be shown in the form of only a few outlines and broken fragments. Modern people in Beckett's plays ought to have frightened the contemporary audience because they lost the identity and immersed in infantile games without knowing how to perform their sincere rituals. Furthermore, they cannot solve the problem of boredom of life with their meaningless games. Notwithstanding, we must create a new meaning from their horrible battle against enormous void by seeking the old form of ritual hidden in the grotesque acts of Beckett's characters.