• 한국연극학
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• 제40호
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• pp.503-535
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• 2010

'Saiee', which could mean between, intra- and inter-, is a crucial topic in theatre as theatre has tension between actor and audience, reality and illusion, and everyday life and extraordinary life. Especially, it is interesting that the function of 'Saiee' is connected to extension and application of drama and theatre such as educational theatre, dramatherapy and applied drama/theatre. Such works are expected to educational or therapeutic effects, thus concern and support, demand and supply of these works is getting increased. However, it is true that researches on spirit, aesthetic and direction of these works are not sufficient, compared to quantitative increase and diversity. This study will explore Boal's Theatre of the Oppressed(TO from the below), which is key theory and technique of applied drama/theatre field with viewpoint of 'Saiee' theatre to look at spirit, aesthetic and direction of this field. Saiee's energy could observe the object with distance(distance), form the relationship with that object(inter) and create new circumstance through that relationship(intra). And Boal's TO tried to Saiee's theatre by using Saiee's dynamics variously. It bases on the phenomenon of metaxis. Boal's TO believes that drama/theatre is unique nature and ability of human being, that is to say, it is based on Homo Theatrum, human plays and does theatre. Therefore, the participant of Boal's TO is extended to everyone in everyday life. This activity is not only individual work to find his/her identity but also solidarity and possibility to change society which they belong to. It is the dynamics of 'Saiee' to make this possible. Boal's TO thinks that relationship and balance between individuality and sociality is important. The way of conversation in Boal's TO includes questioning, listening and communication. Unfamiliarity or distance of 'Saiee' makes interest in other people and question about them. Questioning through theatre and concern on other beings to search for the answer (this is listening), would be new relationship(and possibility) to extend him/herself. The communication and relationship leads to possibility and ability to create another world. This is the function of 'inter-' and 'intra-' in theatre of 'Saiee'. Lastly, it is various that Boal's TO as 'Saiee' theatre uses the dynamics of 'Saiee'. The diversity of technique comes from the application to humans in every moment and every time. To apply 'Saiee's aesthetic actively, concern and research on people 'now and here' should be proceed.

• 비교문화연구
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• 제38권
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• pp.29-63
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• 2015

This paper attempts to re-read Tennessee William's A Streetcar Named Desire from a non-Aristotelian perspective, particularly focusing on the audience performativity. In Chapter 6 of the Poetics, Aristotle says that tragedy has a final purpose or end (telos) and that is to inspire a catharsis (literally "purification") of pity and fear by means of representation and to give pleasure from experiencing their relief. However, a dramatic theoretician Augusto Boal argues that Aristotelian catharsis is not to get rid of pity and fear through their vehement discharge; rather, the basic function of catharsis is the purging of antisocial elements from the social body and the restoration of order because catharsis occurs when the spectator, terrified by the spectacle of the catastrophe, is purified of his "hamartia" which looks similar to the tragic flaw of the hero in the play. Thus, Boal asserts that Aristotle's coercive system of tragedy manipulates the emotions of the passive spectator. By contrast, in non-Aristotelian aesthetics, tragedy functions not as legitimation for a particular political configuration but as the performance of ethical acts-through which all the participants, including not only the actors but also the audience, communicate more actively about practical problems and actively work in order to make sense of themselves, others, and society. Here, the audience is required to restore and reinforce his/her capacity to think and to act; thus, an unquestioning, passive, indifferent attitude is not allowed. In these contexts, this paper explores how Tennessee William's A Streetcar Named Desire involves the audience in the responsibility for what occurs on the stage, in order to urge the audience's ethical judgements and responsible acts. This paper argues that what this play asks of us is not catharsis, the purging of pity and fear, but empathy toward the other's pain, beyond pity and fear, to carry out our responsibility of sharing in and caring for the other's suffering. That is to say that it will be an ethical way to "re-member" Blanche DuBoi-the iconic Williams victim "dis-membered" by traumatic memories and open wounds and is thus unable to complete her grieving and mourning-as one of us, not as the other. It will be the only way to remember right regarding her tragedy.

• 한국엔터테인먼트산업학회논문지
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• 제14권3호
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• pp.277-284
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• 2020

본 논문의 목적은 공연자로서 배우의 몸을 통해 발현되는 '자발성'의 원리를 살펴보고 그 적용 가능성을 고찰하는 것이다. 이를 위해 동시대 배우들이 인물을 창조하기 위한 접근 및 훈련과정에서 흔히 직면하게 되는 문제점을 비판적인 관점에서 논의하고 그 대안으로 배우의 행동과 텍스트가 추구하는 본질적 기능과의 상호보완적 관계를 규명함으로써 연기예술의 토대를 이루는 핵심 원리를 재고하고자 한다. 본 연구에서 중점적으로 논의하는 자포라를 비롯한 마셜, 브루엘, 존스톤, 보알 등의 연기지도자들은 자발적 반응으로써 행동 과정의 중요성을 강조한다. 이들의 공통된 관점을 종합할 때 변화를 추구하고 이를 달성하고자하는 텍스트의 본질적 기능은 역설적으로 배우가 무대 위에서 필수적으로 수행해야 할 임무와 면밀하게 닿아있는 것이며, 이는 곧 예술가로서 배우 스스로가 선택하고 결정한 표현에 대한 책임과도 직결된 것이다. 본 논문은 이러한 과정을 바탕으로 분석과 행동의 상호보완적 관계 속에서 배우의 몸이 자발적 상태에 이르기 위한 접근 방법을 보알의 관점을 중심으로 살펴보고 그 실효성을 제언하고자 한다.