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  µ¿½ÃÁ¢¼ÓÀÚ:     044
 
ÀÛ¼ºÀÏ : 12/11/05
2010Çг⵵ ¼ö´É ¿Ü±¹¾î ¿µ¿ª 28¹ø Çؼ³
 ±Û¾´ÀÌ : songgok
Á¶È¸ : 5,447  

2010³â ¼ö´É ¿Ü±¹¾î ¿µ¿ª 28¹ø Á¤´ä ¹× Çؼ³ - ¼Û°î´åÄÄ(songgok.com)
 
28. ´ÙÀ½ ±ÛÀÇ ºóÄ­¿¡ µé¾î°¥ ¸»·Î °¡Àå ÀûÀýÇÑ °ÍÀ» °í¸£½Ã¿À.
 
Not all authors trusted that the theater audience would automatically understand their plays in the intended manner. Thus, they repeatedly attempted to make it clear to their public that visiting the theater was not merely for the purpose of entertainment, but rather to draw lessons from the play offered onstage. It was, therefore, important for the viewer                              so as to facilitate interpretation of the content. This idea was developed by Bertolt Brecht with his ¡®epic theater,¡¯ which used alienation as a strategy to prevent the identification of the public with the figures of the drama. Through scattered narration and commentary throughout the play, for example, the viewers are invited to take a step back from the performance. In this way, they are given hints to better understand the play while the conclusion is left open so as to leave them to draw their own conclusions. [3Á¡.]
 
¨ç to imitate the actor¡¯ performance
¨è to learn about the play beforehand
¨é to identify himself with the actors on the stage
¨ê to bridge the gap between himself and the actors
¨ë to create a distance from the actions on the stage
 
1. ³»¿ëÇ®ÀÌ
epic theater¶ó´Â °³³äÀ» ¼³¸íÇÏ´Â ±Û·Î¼­, ºóÄ­ µÚ¿¡ ³ª¿À´Â alienation ~ to prevent the identification of the public with the figures of the drama¶ó´Â ºÎºÐ°ú take a step back from the performance¶ó´Â ºÎºÐÀ» ÅëÇØ °ü°´µéÀ» ¹«´ë À§ÀÇ ¿¬±â·ÎºÎÅÍ °Å¸®¸¦ µÎ°Ô ÇÏ´Â °Í(to create a distance from the actions on the stage)ÀÌ ÁÖ¿ä ³»¿ëÀÓÀ» ¾Ë ¼ö ÀÖ´Ù.
¨ç ¹è¿ìÀÇ ¿¬±â¸¦ ¸ð¹æÇÏ´Â °Í ¨è ±Ø¿¡ ´ëÇؼ­ ¹Ì¸® ÇнÀÇÏ´Â °Í ¨é ÀÚ±â ÀÚ½ÅÀ» ¹«´ëÀÇ ¹è¿ìµé°ú ÀÏüȭ½ÃÅ°´Â °Í ¨ê ÀÚ±â ÀڽŰú ¹è¿ìµé »çÀÌÀÇ °£°ÝÀ» ¸Þ¿ì´Â °Í
 
2. ±¸¹®Çؼ³
¨ç Not all authors trusted that the theater audience would automatically understand their plays in the intended manner.    ¡Ø not all:ºÎºÐºÎÁ¤    ¡Ø intended manner:ÀǵµµÈ ¹æ½Ä
¡æ ¸ðµç ÀÛ°¡µéÀÌ ±ØÀåÀÇ Ã»ÁßµéÀº ÀúÀý·Î ÀڽŵéÀÇ ±ØÀ» ÀǵµµÈ ¹æ½ÄÀ¸·Î ÀÌÇØÇÒ °Å¶ó°í ¹ÏÁö´Â ¾Ê¾Ò´Ù.
 
¨è [Thus, they repeatedly attempted to make it clear (to their public) that visiting the theater was not merely for the purpose of entertainment, but  rather to draw lessons from the play (which was) offered onstage. ]
¡Ø make it clear (to their public) that : itÀº °¡¸ñÀû¾î, that~´Â Áø¸ñÀû¾î ¡Ønot merely ~ but (also) = not only ~ but also = as well as: ~»Ó¸¸ ¾Æ´Ï¶ó~ (ÁÖÀÇ: not ~but ±¸¹®ÀÌ ¾Æ´Ô)
¡æ µû¶ó¼­ ±×µéÀº ÀÏ¹Ý ´ëÁߵ鿡°Ô ±ØÀå¿¡ °¡´Â °ÍÀº ´ÜÁö Áñ±â±â À§ÇÑ ¸ñÀû»Ó¸¸ ¾Æ´Ï¶ó ¹«´ë¿¡ »ó¿¬µÇ°í ÀÖ´Â ±ØÀ¸·ÎºÎÅÍ ±³ÈÆÀ» ¾ò¾î³»´Â °ÍÀÓÀ» ºÐ¸íÈ÷ ÇÏ·Á°í ¹Ýº¹ÀûÀ¸·Î ½ÃµµÇß´Ù.
 
¨é [It was, therefore, important for the viewer to create a distance from the actions on the stage so as to facilitate interpretation of the content.]   ¡Ø it ~ for ~ to±¸¹®(°¡ÁÖ¾î, Àǹ̻óÀÇ ÁÖ¾î, ÁøÁÖ¾î) ¡Øso as to:~Çϱâ À§ÇÏ¿©  ¡æ±×¸®ÇÏ¿© ±× ³»¿ë¿¡ ´ëÇÑ ÀÌÇظ¦ ½±°Ô Çϱâ À§ÇØ °ü°´ÀÌ ¹«´ë À§ÀÇ ¿¬±â·ÎºÎÅÍ °Å¸®¸¦ Çü¼ºÇÏ´Â °ÍÀÌ Áß¿äÇß´Ù.
 
¨ê [This idea was developed by Bertolt Brecht with his ¡®epic theater,¡¯ which used alienation as a strategy to prevent the identification of the public with the figures of the drama.]
¡Ø ,which(°ü°è´ë¸í»ç °è¼ÓÀû ¿ë¹ý) = and it  ¡Øfigure:Àι°   ¡æ ÀÌ·¯ÇÑ »ý°¢Àº Bertolt BrechtÀÇ ¡®¿¡ÇÈ µå¶ó¸¶¡¯¿¡ ÀÇÇØ ¹ßÀüµÇ¾ú´Âµ¥, ±×°ÍÀº Àü·«ÀûÀ¸·Î °Ý¸®¸¦ ÀÌ¿ëÇÏ¿© ÀÏ¹Ý ´ëÁßµéÀÌ µå¶ó¸¶ÀÇ Àι°µé°ú ÀÏüȭµÇ´Â °ÍÀ» ¸øÇÏ°Ô Çß´Ù.
 
¨ë [Through scattered narration and commentary throughout the play, for example, the viewers are invited to take a step back from the performance] ¡Øtake a step back:ÇÑ°ÉÀ½ ¹°·¯¼­´Ù.   ¡æ ¿¹¸¦ µé¾î, ±ØÁß ³»³» ÀÌ·ç¾îÁö´Â »ê¸¸ÇÑ À̾߱â¿Í Çؼ³À» ÅëÇØ °ü°´µéÀº °ø¿¬À¸·ÎºÎÅÍ ÇÑ °ÉÀ½ ¹°·¯¼­°Ô À¯µµµÈ´Ù.
 
¨ì [In this way, they are given hints to better understand the play while the conclusion is left open so as to leave them to draw their own conclusions.] ¡Ø the conclusion is left open: °á·ÐÀÌ °³¹æµÈ »óÅ·Π³²°ÜÁö´Ù ¡Øso as to leave them to draw their own conclusions:³ª¸§´ë·ÎÀÇ °á·ÐÀ» À̲ø¾î ³¾ ¼ö ÀÖµµ·Ï ¡æ ÀÌ·¯ÇÑ ¹æ½ÄÀ¸·Î ±×µéÀº ±ØÀ» ´õ Àß ÀÌÇØÇÒ ¼ö ÀÖµµ·Ï ÈùÆ®¸¦ ºÎ¿©¹ÞÀ¸¸é¼­, °á±¹ ³ª¸§´ë·ÎÀÇ °á·ÐÀ» À̲ø¾î ³¾ ¼ö ÀÖµµ·Ï °á·ÐÀº °³¹æµÈ »óÅ·Π³²°ÜÁö°Ô µÈ´Ù.
 
3.´Ü¾îÁ¤¸®
*audience ûÁß *automatically ÀúÀý·Î, ¹«ÀǽÄÀûÀ¸·Î *intended manner: ÀǵµµÈ ¹æ½Ä*not merely ~ , but (also)~ : ~»Ó¸¸ ¾Æ¸®¶ó ~ *onstage ¹«´ë¿¡¼­ *facilitate ½±°Ô ÇÏ´Ù, ÃËÁøÇÏ´Ù *interpretation ¼³¸í, Çؼ³ *epic theater ¿¡ÇÈ µå¶ó¸¶(¼­»çÀûÀÎ ¹æ½ÄÀÇ ±Ø) *alienation °Ý¸®, ¸Ö¸®ÇÔ *strategy Àü·« *identification µ¿ÀÏÈ­, ÀÏüȭ *scattered »ê¸¸ÇÑ *narration À̾߱â *commentary Çؼ³ *so as to ~Çϱâ À§ÇÏ¿©(in order to = so¡¡that ~may)
 
4. Àü¹®Çؼ®
¸ðµç ÀÛ°¡µéÀÌ ±ØÀåÀÇ Ã»ÁßµéÀº ÀúÀý·Î ÀڽŵéÀÇ ±ØÀ» ÀǵµµÈ ¹æ½ÄÀ¸·Î ÀÌÇØÇÒ °Å¶ó°í ¹ÏÁö´Â ¾Ê¾Ò´Ù. µû¶ó¼­ ±×µéÀº ÀÏ¹Ý ´ëÁߵ鿡°Ô ±ØÀå¿¡ °¡´Â °ÍÀº ´ÜÁö Áñ±â±â À§ÇÑ ¸ñÀû»Ó¸¸ ¾Æ´Ï¶ó ¹«´ë¿¡ »ó¿¬µÇ°í ÀÖ´Â ±ØÀ¸·ÎºÎÅÍ ±³ÈÆÀ» ¾ò¾î³»´Â °ÍÀÓÀ» ºÐ¸íÈ÷ ÇÏ·Á°í ¹Ýº¹ÀûÀ¸·Î ½ÃµµÇß´Ù. ±×¸®ÇÏ¿© ±× ³»¿ë¿¡ ´ëÇÑ ÀÌÇظ¦ ½±°Ô Çϱâ À§ÇØ °ü°´ÀÌ ¹«´ë À§ÀÇ ¿¬±â·ÎºÎÅÍ °Å¸®¸¦ Çü¼ºÇÏ´Â °ÍÀÌ Áß¿äÇß´Ù. ÀÌ·¯ÇÑ »ý°¢Àº Bertolt BrechtÀÇ ¡®¿¡ÇÈ µå¶ó¸¶¡¯¿¡ ÀÇÇØ ¹ßÀüµÇ¾ú´Âµ¥, ±×°ÍÀº Àü·«ÀûÀ¸·Î °Ý¸®¸¦ ÀÌ¿ëÇÏ¿© ÀÏ¹Ý ´ëÁßµéÀÌ µå¶ó¸¶ÀÇ Àι°µé°ú ÀÏüȭµÇ´Â °ÍÀ» ¸øÇÏ°Ô Çß´Ù. ¿¹¸¦ µé¾î, ±ØÁß ³»³» ÀÌ·ç¾îÁö´Â »ê¸¸ÇÑ À̾߱â¿Í Çؼ³À» ÅëÇØ °ü°´µéÀº °ø¿¬À¸·ÎºÎÅÍ ÇÑ °ÉÀ½ ¹°·¯¼­°Ô À¯µµµÈ´Ù. ÀÌ·¯ÇÑ ¹æ½ÄÀ¸·Î ±×µéÀº ±ØÀ» ´õ Àß ÀÌÇØÇÒ ¼ö ÀÖµµ·Ï ÈùÆ®¸¦ ºÎ¿©¹ÞÀ¸¸é¼­, °á±¹ ³ª¸§´ë·ÎÀÇ °á·ÐÀ» À̲ø¾î ³¾ ¼ö ÀÖµµ·Ï °á·ÐÀº °³¹æµÈ »óÅ·Π³²°ÜÁö°Ô µÈ´Ù.
 
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