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김춘희 한국현대영미드라마학회 2019 현대영미드라마 Vol.32 No.2
The productions of Equus summoned the audiences of the past towards its revival to celebrate the spirit of Equus with its enduring emotional power—a certain Artaudian perspective—over the past four decades. My inquiry begins with the following question: how can the long revival phenomena be understood as symptomatic of contemporaneity of the play—‘contemporaneity’ as an experience to be had—in form and function in Korean cultural context? Given that the play appears to have a certain universal contemporaneity, I proceed to illuminate the nature of the ‘universality’ by examining issues such as: two divergent critical perspectives on the ‘Equus Fever’ generated from the first production of Equus in Korean cultural context; the Korean productions of Equus on the basis of the criticism responses for decades which result in revealing and positioning the ‘audience’ as critical subjectivity. Here, transatlantic productions of Equus that prompted the dichotomous debate over the ‘Equus Fever’ are brought into our argument on the ‘audience response’ to situate Korean productions within the wider cultural context. After examining those above issues, we come to the conclusion that a genealogy of audience research of Equus—based on theoretical capacity inherent in the history of Korean productions and acquired from the criticism responses to them—will be envisioned as a new prospect in the field of audience researches that is both reliable and valid for within proper ‘cultural studies.’ ,
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