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- 저자 : 남장현(Janghyun Nam) (검색결과 3 건)
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Terror and Fear Transmitted : The Birthday Party
Nam Janghyun(남장현) 한국현대영미드라마학회 2007 현대영미드라마 Vol.20 No.2
During his life, Harold Pinter experienced angst and frustration when subjugated by different bodies of authority and control prevalent within society. Such was his reaction to such experiences, he used his play writing skills to convey the notion that any member of society, at no matter what level they are, can become the target of intimidation, control and fear from authoritarian institutions. In The Birthday Party, this idea is first blatantly depicted by the character Stanley who is brutally assaulted by representatives of some control-centric institution that he has tried to break away from and resist, and then, more subtly by allowing every other character to become a victim at some level. By analyzing the dynamics of the storyline, it becomes clear that the everyday normality we all take for granted can be turned on its head as we become prey to those who might seek to control us. Pinter constructs things in such a way as to allow the audience to identify with this concept to such an extent that they can feel the impact of change suffered by the different characters. Towards the end, we see that the principal predatory character loses their confidence and authority to some degree and are able to relate this to Pinter's view that authority cannot endure indefinitely and may itself fall prey to others.
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남장현(Nam Janghyun) 한국셰익스피어학회 2005 셰익스피어 비평 Vol.41 No.2
The life of servants and the significance of their roles in the class conflicts of the early modern period have not received much critical attention in historical or literary research. This study examines to what extent servants may be seen as a subversive force in this period, principally through the evidence presented in Shakespeare's comedies, as well as those works of his contemporaries. Disaffection among servants is clear in their challenges to the ideology of the dominant class that formed the economic and political discourses of the period, while masters often found it necessary to repress servants' dissenting voices. To locate the potential of this subversive force within institutionalized servitude, I begin with an investigation of servants as a sociological entity in an historical context, according to both contemporary and modern definitions. This helps because these definitions reveal that there have always been grounds on which the servant classes could be regarded as a threatening force to the established hierarchy. Most servants were young people between their early teens and late twenties 'that is, the group naturally resistant to the strictures of the social order. This basis of rebelliousness is compounded by their economical and social disadvantages, and the insecurity of unreliable contracts on their masters' terms, which would cultivate further dissent to the dominant political discourses of Shakespeare's time. The changing economic system of early modern society also prompted servants to protest increasingly about the disappearance of ideal master and servant relationships. This historical study is an attempt to present the function of servants as critical voices against the dominant ideology. It may also be said that this is a germinal study to shed light on the oppression that servants, a marginalized sector of society, might have experienced in early modern England. By examining the strategies of the masters to control their servants in the works of Shakespeare and his contemporaries, the socio-political meanings of servants' subversive potential will be fully revealed.
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남장현(Janghyun Nam) 한국셰익스피어학회 2007 셰익스피어 비평 Vol.43 No.2
This study attempts to shed light on the dramatic significance of Shakespeare's servant characters played by contemporary comic actors. In the company Shakespeare worked for, there were famous popular comic actors such as Kempe and Tarlton who mainly played the roles of fools or servants. They often attracted more attention and received more applause from audience than the other players. Their popularity usually exceeded that of other popular or more experienced actors as well as younger actors usually playing the roles of young lovers who were often regarded as heroes and heroines from a perspective based on the plot. Such popular comic actors were mainly cast as servants in Shakespeare's early romantic comedies. In this respect, the dramatic importance of servant characters on stage requires reassessment with regard to the popularity of this type of actors. Even though they were not given many lines in a play, their appearances on stage were often accompanied with a great amount of laughter and usually left vivid impression on audiences. Therefore, when their dramatic effect is measured in comparison to the consideration of the popularity of the actor who played them, their words become more significant. Futhermore, given that the comic actors had far more freedom on stage with regard to their actions and words and could extemporize as often and freely as they could, it becomes clear that such servant characters must have had much more dramatic importance in reality. When their unwritten extemporizations in Shakespeare's early comedies are examined, the remarks made by such servant characters in relation to the contemporary economic and political climate begin to reveal their true significance and resonate in their society.
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