Equus 한국 공연: 비평과 관객 반응

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.’ ,

Equus에 구현된 공간과 관계의 역학

윤소영(Yoon, So Young) 건국대학교 몸문화연구소 2016 건국대학교 몸문화연구소 콜로키움 발표자료 Vol.2016 No.9

Peter Shaffer’s Equus is a salient text for digging up the meaning of space and relationships between Alan and Horse-God Equus, between Alan and Father, and between Alan and Dysart. Based on a true story, this text is said to take 2 years and a half to complete. Known for eccentric and violent behavior on horses, protagonist Alan Strang was sent to hospital to consult the doctor Martin Dysart. He did blinding six horses by pricking their eyes with a sharp weapon. This play reifies three kinds of relationships converging on Alan; his objects are Equus, Father and Dysart. All the three characters function as Alan’s double. First, Equus is Alan’s mother, idealized god/father and Alan himself. Second, Alan’s father as a double functions as Alan’s unconsciousness. Repression and prohibition are placed in the name of the father. Last, Dysart is thought to be Alan’s alter ego. Reversal of roles between Alan and Dysart happens when Alan asks Dysart a few questions and vice versa. While Dysart plays a role in digging up Alan’s unconsciousness and past, during the process he feels from Alan some passion, which he hasn’t got ever. This play has a circular structure of two monologues by Dysart at the beginning and at the end. Dysart’s confessional monologues show how he feels about the limitation of his job and how he should correct many abnormal adolescents in the name of cure. According to him, he acts like a priest to do that. In conclusion, this play shows the importance and dynamic aspects of space and relationships with Alan. In particular, Alan’s room and the stable as a temple and Dysart’s office are mainly significant space to show how Alan’s relationships with Equus, Father and Dysart develop.

EQUUS: 승화와 향유를 위한 숭고한 대상

정봉석 ( Bong Seok Jeong ) 한국드라마학회 2011 드라마연구 Vol.- No.35

The first horse that Alan has encountered is a real object that is pure and perfect. However, it goes down to his subconsciousness after his parents inhibit the horse. While he was being a grown-up, the pure and perfect object is replaced by the figure of Jesus that his mother told him; but his father`s inhibition of Jesus replaces Jesus with a drawing of the horse. Equus is a sublimation mechanism that Alan has activated as a defence against the inhibition. Thus, both Jesus and Equus may serve as the slippage of signifiant to Alan; but, in fact, they indicate the ideal ego of an identification object or the ego-ideal of himself. To make a perfect sublimation, the object of identification should proceed toward the object of Other jouissance. And yet, Equus, to Alan, comes to be the cause-object of a catastrophe at the end, which becomes a double threatening himself. The authority of Peter Shaffer can be found in his ability as a writer to precisely illustrate Alan`s psychological process through the techniques of psychodrama. Therefore, this paper focuses on analyzing the process of Alan`s psychological treatment by means of Lacan`s psychoanalytical concepts-sublimation, Other jouissance, and double-in order to examine the author`s thematic consciousness. 알런이 만난 최초의 말은 결여가 없는 순수한 실재적 대상이다. 그러나 그것은 부모에 의해 금지되어 무의식의 수면 아래로 가라앉는다. 이후 성장의 과정속에서 어머니로부터 전도 받은 예수의 형상으로 대체되었다가, 그마저 아버지에 의해 금지되어 말 그림으로 대체된다. 에쿠우스는 이러한 금지에 대한 방어로서 알런이 작동시킨 승화의 기제이다. 그러므로 알런에게 있어 예수(스)(Jesus)와 에쿠스(Equus)는 단지 기표의 미끄러짐일 뿐, 사실은 동일화의 대상인 이상적 자아 또는 자아 이상에 다름 아니다. 완벽한 승화가 이루어지려면 그러한 동일화의 대상이 다른 향유의 대상으로 나아가야 한다. 그러나 알런에게 에쿠우스는 종국엔 파국의 원인-대상이 되어 스스로를 위협하는 분신이 된다. 피터 셰퍼의 작가적 면모는 바로 이러한 내면심리의 형성 과정을 심리극의 기법을 통해 세밀하게 표출해내는 역량에서 발견된다. 그러므로 이 글은 작가의 주제 의식을 확인하기 위하여 라캉의 정신분석학 용어인 승화, 향유, 동일화, 분신 등을 통해 알런의 심리치료의 과정을 분석하고자 한 것이다.

Equus에 구현된 공간과 관계의 역학

윤소영(Yoon, So Young) 한국현대영미드라마학회 2016 현대영미드라마 Vol.29 No.2

비평담론을 통해 본 연극 < 에쿠우스 > 수용의 쟁점과 에로티시즘

김유미 ( Yoo Mi Kim ) 한국연극학회 2015 한국연극학 Vol.1 No.57

이 연구는 비평담론을 분석하여 <에쿠우스>의 한국적 수용에서 가장 중요하게 다루었던 쟁점, 배제된 쟁점을 통해 주류 비평담론에서 추구하고자 한 가치를 밝히는데 목적이 있다. 이를 위해 1970년대 초연 시기의 연극비평자료를 중요하게 활용한다. 비평의 분석을 통해 이 작품을 전유하는 방식에서 어떤 요소들이 이 작품의 평가에 작용했는지 그리고 그러한 작용을 하게 한 배경과 상황은 무엇인지를 살펴보았다. 1975년 초연에 대한 비평담론은 에로티시즘보다 원작의 작품성에 집중되었다. 1990년대, 2000년대에도 <에쿠우스>에 잠재된 에로티시즘은 지속적으로 소환되었으나 다른 이름으로 호명되었다. 시대적 측면에서나 공연 콘셉트의 측면에서 1990년 김아라 연출의 <에쿠우스>에서는 에로티시즘의가 가능했음에도 평론가들은 에로티시즘 논의를 외면했다. 이는 다른 장르와 구별되어야 하는 연극의 생존 방식과 관련된 문제로 보인다. <에쿠우스>의 한국적 전유는 원작이 지닌 에로티시즘의 성격, 브로드웨이 공연에서 적나라하게 드러났던 포르노에 가까운 에로티시즘을 의식하지 않으려는 방향으로 진행되었다. 그러한 전유는 1975년 <에쿠우스> 공연이 동시대 연극에 대한 한국적 수용이라는 주류 비평 담론 안에 포섭되었기 때문에 가능했다. 서양 연극의 보편주의를 그대로 내재화한 결과는 아니라는 뜻이다. 1970년대 동시대 연극에 대한 한국적 수용이라는 문제는 중요하다. 그러나 이러한 담론이 주류를 차지할 수 있었던 또 다른 배경에는 유신 정권기 문화정책의 영향이 놓여 있다. 민족적인 것이 곧 국가적인 것으로 치환되면서 평론가들은 민족문화수립을 위한 국가 지원의 분위기에 순응하고 정치적으로 예민한 문제들에 침묵하고 아카데미즘의 장 속으로 들어가 버리면서 에로티시즘에 대한 논의도 배제될수밖에 없었다. The purpose of this study is to reveal what is the meaning of eroticism in drama by investigating how the criticism is dealing with the eroticism in the drama <Equus>. In order to this, we examined which factors affected the evaluation of this drama in a way of exclusive possession and what were the background and situation exerting an such effects by analyzing the criticism on drama in 1970``s. The criticism about the premiere in 1975 was only focused on the artistic value, but did not discuss the parts related with eroticism. At last, the symbol of eroticism seen by <Equus> reveals that the eroticism is very uncomfortable thing. The Korean style possession of <Equus> has the characteristic that it did not recognize the original work’s eroticism similar to porno, which was frankly revealed in Broadway performances. That was possible because the <Equus> performed in 1975 was taken into the mainstream criticism, namely, Korean style embracement of comtemporary drama. This means that it was not resulted from direct internalization of the universalism of western drama. The Korean style embracement of comtemporary drama in 1970’s is important. But, the culture policy of Yushin regime influenced that this discussion could become the mainstream. The nationalism was regarded as the state priority. It led to that the critics were forced to be compliant with the atmosphere of state support for establishment of national culture and to be silent to sensitive, political issues and to focus on academism. Here, we can also understand the exclusion of discussion about eroticism in this background. It is unfair to ask why this exclusion of discussion is important regarding eroticism as inferior to political issues. In 1990``s and 2000``s, the eroticism embedded in <Equus> was continuously recalled, but it was differently named. The critics took no notice of the talk about the eroticism although it was possible to discuss the eroticism in the <Equus> directed by Kim Ara in 1990 from the aspect of the times or concepts of performance. The possibility of sound discussion on the eroticism through <Equus> was distorted like this because it was related with the way of survival of the drama which should be differentiated from other genres.

한국에서 셀 생산방식은 가능한가?

조형제(Hyung Je Jo) 한국사회학회 2004 韓國社會學 Vol.38 No.5

본 논문은 현대자동차 에쿠스 공장이 셀 생산방식의 도입을 추진했음에도 불구하고 포드주의적 생산방식의 틀을 벗어나지 못한 채 생산방식의 혁신에 성공할 수 없었던 이유를, 셀 생산방식의 이념형에 근접한 우데발라 공장과의 비교를 통해 설명하고자 한다. 에쿠스 공장이 생산방식의 혁신을 기하기 어려웠던 근본적 이유는 한국사회의 조건에서 비롯된 것이다. 현대자동차의 주력 모델은 고급차가 아니었고, 고급 노동력의 확보가 어렵다거나 노동의 인간화를 요구하는 노동조합의 압력이 있는 것도 아니었기 때문이다. 또 다른 사회적 조건은 대립적 노사관계였는데, 노동자들은 조직적 단결의 기반이 와해될 것을 우려한 나머지, 고급차 생산에 요구되는 숙련도 향상을 위한 교육훈련의 강화도 차별적 보상을 위한 승진ㆍ급여 시스템의 개편도 거부하였다. 여기서 현대자동차가 선택한 인적자원 관리 전략은 작업자들의 능력을 개발하여 참여시키는 것이라기보다는 획일적으로 동원시키는 것이었다. 그러나 의식개혁 위주의 교육훈련이나 획일적 연공급은 고급차를 생산하는 에쿠스 공장에는 적합하지 않은 것처럼 보인다. 에쿠스 공장이 셀 생산방식을 도입하지 않은 것은 투자 부담과 생산관리 기술의 부족에도 기인한다. 에쿠스 공장이 생산 라인을 두 개의 자기완결형 직렬 라인으로 분할하고 사이클 타임을 연장하는 방식으로 생산기술의 혁신을 단행한 것은 도요타자동차의 미야타 공장 등과 일정한 공통점을 지니고 있다는 점에서 긍정적 평가가 가능하다. 그러나 에쿠스 공장의 작업조직은 포드주의적 분업의 원리에서 벗어나지 못하고 있어서 생산기술의 혁신을 뒷받침하지 못하고 있다. 생산기술이 발전하더라도 작업자들이 극도로 세분화된 분업에 종사하는 작업조직을 탈피하지 못하면 생산방식 전체의 혁신을 이루어낼 수 없는 것이다. This paper compares Hyundai Equus plant with Volvo Uddevalla plant, focused on production system and human resource management. This paper tries to explain why Equus plant adopted a modified conveyer belt system, even though it tried to adopt the cell production system. In Hyundai motor company, there has not been enough condition to innovate its production system drastically, because they don’t feel any difficulty to get good quality labor forces. The production line in Equus plant keeps the character based on a conveyer belt system, even though it flows slowly compared to other plants. The main obstacle that Hyundai motor company can not innovate its production drastically is its backwardness in human resource management. The egalitarian wage system and the limitedness in promotion prevents laborers from trying their skill improvement that needs to make high quality vehicles. To make high quality vehicles, Hyundai motor company needs to innovate its human resource management with the change of its adversarial labor relations.

"에쿠우스"에 나타난 자아연구

구정숙 한국중앙영어영문학회 2011 영어영문학연구 Vol.53 No.1

Peter Shaffer is a playwright who tried to succeed realistic psychology traditions and a writer for the stage who combines verbal articulateness with exceptional theatrical inventiveness. And he intended to realize a total theatre through various dramatic techniques. Shaffer built drama on profound human issues. Especially, the major subject of his plays is the conflict between the protagonists and antagonists. He has always developed an established social system, religious factor, and primitive ego. In this study, I have studied private and public ego in his work, Equus which was worthy of notice and aroused impressive sympathy from not only our country but also all over the world. Originally, Equus is a symbol of a horse in Latin but has many other meanings in this play. The meanings include: god likeness, the bondage of destiny, cruel realities of life, and primitive ego. Dysart’s the protagonist and stands for socialized ideas, Alan had grown up with a very complex mental condition taught by his mother. His father, who was a stick socialist, considered religious things to be superstitions so that Alan conflicts about Equus, a Horse-God. In addition, Dysart is a symbol of mental conflict of modern man. He is suffering sorrow of life and his alter ego about barren and meaningless life and he comes to know the fact while he cures Alan. But Dysart cured Alan and returned him to the Normal world with the conclusion of human combination. Shaffer gave us a message that not only the id world that is passion and primitive ideas, but also the superego world that is moral and physical health, is very important in our present time.

Identification and expression analysis of a novel miRNA derived from ERV-E1 LTR in <i>Equus caballus</i>

Jo, Ara,Lee, Hee-Eun,Kim, Heui-Soo Elsevier 2019 Gene Vol.687 No.-

<P><B>Abstract</B></P> <P>Horses (<I>Equus caballus</I>) have been domesticated and bred to enhance speed, strength, and agility. Members of the <I>Equus caballus</I> Endogenous Retrovirus (EqERV) family affect several of these abilities in horses. EqERV elements have been integrated in the horse genome during evolution and generate repeat elements such as long terminal repeats (LTRs). LTR sequences are involved in retrovirus replication and play an essential function in post-transcriptional control mechanisms, such as by providing binding sites for microRNAs (miRNAs) or generating miRNA precursors. In this study, we identified a novel miRNA derived from EqERV-E1 LTR using various bioinformatics tools. To examine the relationship between EqERV-E1 LTR and similar elements, we used BLAST2seq and phylogenetic analysis. LTR sequences were located in the untranslated region (UTR) of mRNAs and also formed the stem-loop secondary structure. The sequence was registered in the DDBJ database as LTR derived miRNA under the accession number corresponding to LC383797 (referred to eca-miR-1804). Quantitative polymerase chain reaction (qPCR) to confirm the expression of eca-miR-1804 and the similar miR-1255a, showed an almost identical expression pattern in eight different equine tissues. Therefore, these data imply that the LTR could function as an miRNA, which is expressed in the examined equine tissues. In addition, the current study provides inputs for additional functional studies concerning the LTR of other EqERV families.</P> <P><B>Highlights</B></P> <P> <UL> <LI> A novel miRNA derived from ERV-E1 LTR in <I>Equus caballus</I> was identified. </LI> <LI> LTR sequences are essential for post-transcriptional mechanisms related to miRNAs. </LI> <LI> LTR sequences were located in horse mRNA UTRs and formed stem-loop structures. </LI> <LI> Eca-miR-1804 and miR-1255a had similar expression patterns in eight equine tissues. </LI> <LI> LTR could function as miRNA and provide information about the biological functions of horse-specific miRNAs. </LI> </UL> </P>

피터 셰퍼의『에쿠우스』'제대로' 읽기 : 타블로 비방과 서술전략

임학순 새한영어영문학회 2007 새한영어영문학 Vol.49 No.4

Equus has been discussed on the psychoanalytic elements, the relationship of God and man, and character types, which are all concerned about the thematic matters of the play. There are a few studies on the play's structure, but no notable study on its unique dramatic narrative structure has ever been presented. For the purpose of more accurate analysis of narrative structure in the play, this paper would suggest the term "tableau vivant." Although he acts as a character within the story he is telling, he narrates the story directly to audience. To narrate more "properly," he utilizes a narrative strategy, which enables characters in the story space to enter and exit as if they are manipulated by the narrator's consciousness. Their statements and actions are presented in the so-called showing technique or indirect presentation technique. To delineate the indirect presentation more precisely, this study uses the term 'tableau vivartt.' Woven with tableaux vivants, the narrative structure in Equus is similar to a mixture of multi-layered chinese box structure and paratactic framed story. Analysingthe play's complex structure and delving into the beauty of narrative technique with tableaux vivants, this study would hopefully lead its readers to the proper reading of the play.

진화정신의학 관점에서 본 <에쿠우스>

허재성 ( Heo Jaesung ) 한국드라마학회 2021 드라마연구 Vol.- No.64

어느 시대든 과학기술은 세계관의 한계를 규정지어 왔다. 예술 작품의 제작과 해석은 이러한 세계관에 기반하여 이루어지기에, 과학의 발전은 예술 작품의 재해석을 자극한다. 프로이트가 발견한 무의식이 삶과 예술에 관한 정신분석적 해석이라는 새로운 시각을 제시했듯, 다윈의 진화론은 인간 심리의 제반 면모를 진화적 관점으로 이해하는 진화심리학의 발전을 이끌었다. 본 논문은 진화심리학에 기반하여 발전한 진화정신의학의 관점으로 <에쿠우스>를 분석하여 새로운 해석을 더 한다. 구체적으로는 알런이 보인 모습에서 불안, 중독, 망상이라는 정신병리적 특성이 드러나는 지점을 진화정신의학의 관점으로 해석한다. 진화심리학과 진화정신의 학은 유전자와 환경의 상호작용을 진화적 시간에 걸쳐 파악하여 정상과 비정상의 판단에 영향을 미치는 다양한 요소를 발견하였으며, 이들 중 상당수가 사회, 문화적 맥락에 따라 변동됨을 확인하였다. 이러한 특징은 알런의 불안, 중독, 망상 증상에 잘 드러나고 이는 다이사트와 관객으로 하여금 정상과 비정상의 경계에 대해 계속된 혼란을 갖게 만든다. 결국 이러한 혼란은 인간 심리가 환경과 상호작용하며 진화하는 과정에서 발달한 본능에 기인한 것이다. 본 논문은 지난 세기의 정신분석학적 관점에서 쓰인 예술 작품을 지금의 진화심리학적 관점에서 이해함으로써, 과학의 발달에 따른 인식의 변화에 발맞춘 예술 해석의 한 시도가 될 것이다. Science and technology have defined the limits of the worldview in any era. Since the production and interpretation of works of art are based on this worldview, the development of science stimulates the reinterpretation of art works. Just as Freud's discovery of the unconsciousness presented a new perspective on life and art as a psychoanalytic interpretation, Darwin's theory of the evolution has led to the development of evolutionary psychology that understands all aspects of human psychology from the evolutionary perspective. This paper adds a new interpretation by analyzing Equus from the perspective of evolutionary psychiatry, a branch of psychiatry based on evolutionary psychology. Specifically, we interpret from the evolutionary psychiatry point of view where the psychopathic characteristics of Alan's behavior reveal anxiety, addiction, and delusion. Evolutionary psychology and evolutionary psychiatry have identified the interactions between genes and their environment over evolutionary time to discover a variety of factors affecting normal and abnormal judgments, many of which vary across social and cultural contexts. These features are well-illustrated in Alan's anxiety, addiction, and delusional symptoms, which continue to confuse Dysart and the audience about the boundaries between normal and abnormal. After all, this confusion is due to instincts developed in the evolving process of human psychology interacting with the environment. This paper will be an attempt at art interpretation in line with changes in perception with the development of science, by understanding an artwork written from the psychoanalysis perspective of the past century with a state-of-the-art point of view of evolutionary psychiatry.