전통연희의 흥겨운 놀이 너머를 꿈꾸는 흥겨운 연극 <풍편에 넌 들은 <아가멤논>> <나무, 물고기, 달>

김효 한국연극평론가협회 2022 연극평론 Vol.107 No.-

교육연극의 본질 : 드라마와 놀이 drame et jeu

김효 한국연극교육학회 1999 연극교육연구 Vol.3 No.-

'예술연극' 과 '대중연극'에 관한 쟁점 연구 : 프랑스 연극사를 경유하여

김효 한국연극학회 1999 한국연극학 Vol.12 No.1

Il arrive parfois que l'art the´a^tral d'un pays, a` une certaine e´poque, manifeste un double de´veloppement daps deux directions diffe´rentes, et qui parfois s'opposent me^me par leur style et leurs proce´de´s. Ainsi, dans le milieu the´a^tral contemporain, le the´a^tre d'art qui souhaite proposer au public un the´a^tre de qualite´, coexiste avec un the´a´tre populaire qui privile´gie la quantite´ du public, pour la survivance du the´a^tre, face a` un parfois obscure the´a^tre contemporain. Pour certains, la production d'une oeuvre de qualite´ est incompatible avec l'accessibilite´ d'un large public, et pour d'autres, ils s'e´rigent contre l'art pour l'art et lui oppose l'art pour le peuple. Ces derniers conside`rent que la fonction principale du the´a^tre est d'e^tre un service public. Au coeur de mon article, se place cette question : "Le the´a^tre d'art, est-il antynomique au the´a^tre populaire?" La re´ponse a` cette question pre´suppose la de´finition du the´a^tre d'art. C'est ainsi que j'ai e´tabli une se´rie de sous-questions auxquelles je vais tenter de re´pondre en parcourant l'histoire du the´a^tre: 1. Depuis quand existe le the´a^tre d'art? 2. 'art' en minuscule est-t-il synonyme d'Art? 3. Quelle est la qualite´ esthe´tique spe´cifique au the´a^tre? En fin de compte, l'appellation "the´a^tre d'art" est une cre´ation re´cente, qu'il est possible de dater puisqu'elle fut utilise´e pour la premie´re fois a` Paris en 1890 par Paul Fort qui avait choisi ce titre pour de´nommer le the´a^tre qu'il entendrait fonder. Les fondateurs du "the´a^tre d'art" ont cre´e´ cette appellation en souhaitant que la "repre´sentation en tant que spectacle"(ce qui signifie sue ce n'est plus seulement la repre´sentation d'une oeuvre dramatique) soit autre chose qu'un simple divertissement. Donc cette appellation prend une double signification : un concept actif qui accorde au metteur en sce´ne le statut d'artiste initialement refuse´, mais qui conduira parfois a` des de´rives esthe´tisantes ou des de´lires d'autorite´ et en me^me temps un concept luttant contre le divertissement. Bref, le the´a^tre d'art est un concept qui traverse la sce`ne occidentals durant tout le sie`cl et qui espe´re procurer au public une jouissance intellectuelle ou/et esthe´tique. De surcroi^t on lui promet une e´le´vation au contact du sublime. On cherche a` rede´finir les re`gles de fart selon des valeurs universelles. Alors, un tel the´a^tre d'art est-il incompatible avec un the´a^tre "grand public"? Quant au the´a^tre en ge´ne´ral, il est e´vident qu'il est incapable de conque´rir les masses autant que le cine´ma et la te´le´vision. La conqe^te des masses n'est pas inhe´rant au the´a^tre dans la socie´te´ des masse-me´dia. Pourtant, les expe´riences artistiques de Jacques Copeau pre´sentent un mode`le a` suivre : conque`rir un large public par la seule production d'oeuvre de qualite´. Alors que la concurrence avec le cine´ma et la te´le´vision menace se´ve`rement les the´a^tres, une formule lance´e par Antoine Vitez, "un the´a^tre d'art, e´litiare pour tons", rappelle que les principes me^mes du the´a^tre d'art, contraints d'affirmer davantage sa spe´cifite´, appelle un public tout aussi nombreux.

결혼과 독신에 관한 기독교적 고찰 : 고전 7장에 나타난 바울의 사상을 중심으로

김효 베뢰아학회 2006 베뢰아논단 Vol.1 No.1

Marriage and bachelorhood(spinsterhood) are both under the absolute sovereignty of God. The sudden changes in our society are driving families to face the unavoidable issues of divorce. Due to the forceful influences of the western culture, our society is suffering from confusion in sexual identity and the results of this confusion and freedom in sexuality are spouse infidelity, swapping, and homosexuality. The younger generation are placing a higher value on social success and larger income than on marriage and childcare. Further, along with the increase in awareness of individual happiness and self-actualization is the increase in the number of those who easily give up their marriage or prefer to stay single. This writing examines the meaning and the value of marriage and bachelorhood in light of Paul's ideologies in 1 Corinthians 7. It seeks to promote a deeper understanding of the biblical view of marriage and singleness to the Christians living in this present age. Paul states that marriage and bachelorhood are gifts from God and that its beginning and end belong to the sovereignty of God. Paul does not perceive marriage as a second alternative to bachelorhood. According to Paul's view on God's gift of bachelorhood, it is beneficial for those who desire to serve God with an undivided hearts and who long to see the kingdom of God completed. Thus, singleness should not be chosen with the purpose of worldly success and self-actualization. Marriage or bachelorhood is not a matter of choice for each individual. It is an act of obedience to the specific gift of God. The Church's interest and guidance should be focused on the establishment of the identity concerning Christian marriage and bachelorhood.

댄스시어터는 춤과 연극의 혼종이 아니다

김효 한국연극평론가협회 2003 연극평론 Vol.28 No.-

[연극(2)] 임형택 연출의 『두 메데아』 형식의 실험 속에서 표류하는 의미의 기호들

김효 현대미학사 2008 공연과 리뷰 Vol.61 No.-

싸이의 <강남스타일>에 나타난 코믹의 특성 연구 - 모롱의 웃음 담론을 활용한 transculturality의 분석을 중심으로 -

김효 글로벌 문화콘텐츠학회 2016 글로벌문화콘텐츠 Vol.0 No.23

There are growing demands on comic entertainment as the realm of mass media art expands. However, comic entertainment has difficulty in acquiring global recognition due to strong cultural locality; a comic phenomenon in one society does not always bring about laughter in another. Therefore, it is remarkable that Psy’s music video Gangnam Style became a great international success. This success proves the possibility of creating comic entertainment that crosses over cultural borders as well as its magnificent influential power when the comic mode raises international responses. The objective of this article is to discover how Gangnam Style succeeded in creating powerful comic effects that appeal all over the world, transcending cultural locality. This article refers to the discourse on the laugher and comics that Charles Mauron developed in his book, Psychocritique Du Genre Comique(Psychocritics of The Comic Genre) to analyze the comic aspects of Gangnam Style. An analysis on the music video reveals the following three important factors. First of all, the background settings in the music video are common municipal places that are omnipresent in the world and lack the cultural locality of any one nation. This spatial anonymity undermines the conditions which can create cultural locality. Second, Gangnam Style creates a dissonance between the ordinary life displayed in the background places and Psy’s acting in his extraordinary costumes and dance style. This gap brings about laughter and magnifies the effect. Third, the sexuality code, which has universal popularity, is combined with comic codes and depicted in caricatures in Gangnam Style. The sexuality combined with the comic code increases the pleasure derived from the exposure to the sexuality alone. These three elements - spatial omnipresence, discord between the background places and the acting of Psy, and the caricatured sexuality – play crucial roles in attaining the amazing international success of Gangnam Style. 대중예술의 영역이 확대되면서 코믹물에 대한 수요도 증가하고 있다. 하지만, 웃음은 문화적 국지성이 강하기 때문에 글로벌 차원에서 큰 흥행을 이끄는 것이 용이하지 않다. 그런 점에서 싸이의 뮤직 비디오 <강남스타일>의 세계적 흥행은 각별한 의미를 지닌다. 즉, 보편적 호소력을 가진 코믹물을 창조하는 것이 충분히 가능하며 코믹 모드가 글로벌 지형에서 반향을 일으킬 경우 어떤 폭발력을 가지는지 입증해 보여 주었다. 본 연구는 <강남스타일>의 코믹 코드가 어떻게 문화적 국지성의 함정을 피하면서 강력한 코믹의 효과를 창출할 수 있었는지 규명하고자 했다. 코믹의 양상에 대한 분석을 위해서는 샤를르 모롱이 자신의 저서 『희극적 장르의 심리비평』에서 개진한 웃음의 이론을 활용하였다. 본 논문은 뮤직비디오를 시퀀스 별로 나누어 분석한 결과, 크게 세 가지 요인을 발견할 수 있었다. 첫째, 익명성이 강한 도시 공간을 배경으로 설정함으로써 문화적 국지성이 작동할 수 있는 물적 토대를 약화시켰다. 둘째, 공간과 그 속에서 일어나는 주인공 싸이의 행동 사이의 부조화를 극대화시키는 방식으로 웃음의 효과를 증폭시켰다. 셋째, 보편적 흥행 코드인 성적 코드에 코믹 모드를 결합시킴으로써 해방감을 배가시켰다.

몸으로 쓰는 소설 - 〈명품〉 극단의 〈메밀꽃 필 무렵〉과 〈봄봄〉

김효 공연과이론을위한모임 2008 공연과 이론 Vol.- No.32

쟝 쥬네의 희곡에 나타난 놀의의 양상 : Les Bonnes와 Le Balcon을 중심으로

김효 한국프랑스문화학회 2000 프랑스문화연구 Vol.5 No.-

Les personnages de Genet sont des métonymies des oppressés qui se placent en marge de la société. Ils désirent se libérer de la vie quotidienne qui les contraint à des rôles sociaux malgré eux et rêvent de devenir d’autres personnes de la vie réelle. Voilà pourquoi ils inventent en secret leur jeu à eux seuls où leurs désirs sont représentés hors de la censure réelle. Genet d’ailleurs oppose la scène à la vie, car la scène est un lieu où toutes les libertés sont possibles. Cette argumentation nous paraît évidente dans la mesure où nous pouvons faire tout ce que nous désirons dans l’espace imaginaire du jeu scénique. Cependant, Genet explore, à travers Les Bonnes et Le Balcon, quelles sont les situations où l’espace de jeu n’est plus celui de la liberté. Lorsque le jeu ne se satisfait plus d’être enfermé dans la scène et qu’il s’opère ardemment vers la vie réelle, il n’apporte plus le plaisir de la liberté au joueur. Cela est le cas des Bonnes. Une autre entrave qui empêche le jeu d’être action libre conceme le fait que le jeu ne se débarasse pas du système des symboles investi par le paradigme établi.

연극비평 : 상투적인 로맨틱 코미디를 신선한 대중극으로 진화시킨 ≪민자씨의 황금시대≫

김효 한국연극평론가협회 2008 연극평론 Vol.50 No.-