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    연극으로서의 텍스트—ꡔ난 아니야ꡕ = Text As a Theater: Not I

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    https://www.riss.kr/link?id=A103978438

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

    Text As a Theater: Not I
    Hyun-Seok Pyo (Chonnam National University)
    This study is to investigate what makes a play be a theater itself from Beckett's play, Not I. There are usually four ingredients for a theater: play, space, character, audience. In order for a play to become a theater, therefore, the play has all the factors in it. As a performance based a play needs a stage(space), Not I has to satisfy the rest, that is, character and audience, to be a theater.
    Mouth in the text could hardly be described as an intact actor or just a prop because it is neither a human being nor an inanimate object. It is a facial organ simply. This dramatic method of Beckett smashes the traditional idea that a theater should employ a living body and rewrites what a character could be. In the light of Beckett's reduction-oriented view, it could be possibly said the character or sender is modified into a mouth, just one physical component, and that Mouth performs brilliantly its creator's famous phrase, ‘the obligation to express' through pouring words ceaselessly.
    Auditor who is listening attentively to Mouth without single word throughout the play on the down-right stage evidently represents audience. The presence of him should dedicate himself to not a reader who is reading a play at a table in a room, but an audience who is seeing a performance on a chair at a playhouse. He conducts two missions in the text. One is the counterpart paying attention to Mouth's words, and the other is an audience observing Mouth. As a result, Auditor fulfills multiple roles in the play, such as, character, receiver, seer, audience, so we can say that he is an implied audience in Not I. Furthermore, the multi-function trait given to him can be accomplished only on a stage. Since a theater without even an audience is never called a theater at all, Beckett has established the necessary and sufficient condition for a play to be a theater itself by exploiting an unusual device, Auditor, in Not I.
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    Text As a Theater: Not I Hyun-Seok Pyo (Chonnam National University) This study is to investigate what makes a play be a theater itself from Beckett's play, Not I. There are usually four ingredients for a theater: play, space, character, audience. In ...

    Text As a Theater: Not I
    Hyun-Seok Pyo (Chonnam National University)
    This study is to investigate what makes a play be a theater itself from Beckett's play, Not I. There are usually four ingredients for a theater: play, space, character, audience. In order for a play to become a theater, therefore, the play has all the factors in it. As a performance based a play needs a stage(space), Not I has to satisfy the rest, that is, character and audience, to be a theater.
    Mouth in the text could hardly be described as an intact actor or just a prop because it is neither a human being nor an inanimate object. It is a facial organ simply. This dramatic method of Beckett smashes the traditional idea that a theater should employ a living body and rewrites what a character could be. In the light of Beckett's reduction-oriented view, it could be possibly said the character or sender is modified into a mouth, just one physical component, and that Mouth performs brilliantly its creator's famous phrase, ‘the obligation to express' through pouring words ceaselessly.
    Auditor who is listening attentively to Mouth without single word throughout the play on the down-right stage evidently represents audience. The presence of him should dedicate himself to not a reader who is reading a play at a table in a room, but an audience who is seeing a performance on a chair at a playhouse. He conducts two missions in the text. One is the counterpart paying attention to Mouth's words, and the other is an audience observing Mouth. As a result, Auditor fulfills multiple roles in the play, such as, character, receiver, seer, audience, so we can say that he is an implied audience in Not I. Furthermore, the multi-function trait given to him can be accomplished only on a stage. Since a theater without even an audience is never called a theater at all, Beckett has established the necessary and sufficient condition for a play to be a theater itself by exploiting an unusual device, Auditor, in Not I.

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    참고문헌 (Reference)

    1 Pountney, Rosemary, "Theatre of Shadows: Samuel Beckett's Drama 1956-1976" Gerrards Cross: Colin Smythe 1998

    2 "The ‘I' in Beckett's Not I." (3) : 189-200, 1974

    3 Gontarski, S. E, "The Intent of Undoing in Samuel Beckett's Art" 29 (29): 5-23, 1983

    4 "The Complete Dramatic Works" London: Faber & Faber 1986

    5 Kennedy, Andrew K., "Samuel Beckett" London: Cambridge UP 1991

    6 Lyons, Charles R, "Samuel Beckett" London: Macmillan 1983

    7 Bair, Deirdre, "Samuel Becket: A Biography" New York and London: Harcourt Brace Jovanovich 1978

    8 "Proust" New York: Grove 1931

    9 Elam, Keir, "Not I: Beckett's Mouth and the Ars(e) Rhetorica(Beckett at 80/Beckett in Context)" New York: Oxford UP 124-148, 1986

    10 Harmon, Maurice, "No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider" London: Harvard UP 1998

    1 Pountney, Rosemary, "Theatre of Shadows: Samuel Beckett's Drama 1956-1976" Gerrards Cross: Colin Smythe 1998

    2 "The ‘I' in Beckett's Not I." (3) : 189-200, 1974

    3 Gontarski, S. E, "The Intent of Undoing in Samuel Beckett's Art" 29 (29): 5-23, 1983

    4 "The Complete Dramatic Works" London: Faber & Faber 1986

    5 Kennedy, Andrew K., "Samuel Beckett" London: Cambridge UP 1991

    6 Lyons, Charles R, "Samuel Beckett" London: Macmillan 1983

    7 Bair, Deirdre, "Samuel Becket: A Biography" New York and London: Harcourt Brace Jovanovich 1978

    8 "Proust" New York: Grove 1931

    9 Elam, Keir, "Not I: Beckett's Mouth and the Ars(e) Rhetorica(Beckett at 80/Beckett in Context)" New York: Oxford UP 124-148, 1986

    10 Harmon, Maurice, "No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider" London: Harvard UP 1998

    11 Shenker, Israel, "Moody Man of Letters" 6 : 129-, 1956

    12 "Mediations: Essays on Brecht, Beckett, and the Media" Baton Rouge: Louisiana State UP 1980

    13 "Just Play: Beckett's Theatre" Princeton: Princeton UP, 1980

    14 Wilson, Ann, "Her Lips Moving: The Castrated Voice of Not I(Woman in Beckett: Performance and Critical Perspectives)" hicago: Illinois UP 190-200, 1990

    15 Knowlson, James, "Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett" New York: Grove 1980

    16 Beckett, Samuel, "Disjecta: Miscellaneous Writings and a Dramatic Fragment" New York: Grove 1984

    17 "Dada, Surrealism, and the Genesis of Not I" XⅧ (XⅧ): 49-59, 1975

    18 Lawley, Paul, "Counterpoint, Absence and the Medium in Beckett's Not I" XXXVI (XXXVI): 407-414, 1983

    19 Gussow, Mel, "Conversations with and about Beckett" New York: Grove 1996

    20 Brater, Enoch, "Beyond Minimalism: Beckett's Late Style in the Theater" New York: Oxford UP 1987

    21 Worthen, William B, "Beckett's Actor" XXXVI (XXXVI): 415-424, 1983

    22 McMillan, Dougald, "Beckett in the Theatre: The Author as Practical Playwright and Director" London: John Calder 1988

    23 Driver, Tom F, "Beckett by the Madeleine(The Columbia University Forum Anthology)" New York: Atheneum 127-133, 1968

    24 Beckerman, Bernard, "Beckett and the Act of Listening(Beckett at 80/Beckett in Context)" New York: Oxford UP 149-167, 1986

    25 "Back to Beckett" Princeton: Princeton UP 1973

    26 Esslin, Martin, "An Anatomy of Drama" New York: Hill & Wang 1976

    27 Fletcher, Joh, "A Student's Guide to the Plays of Samuel Beckett" London: Faber and Faber 1978

    28 Cohn, Ruby, "A Beckett Canon" Michigan: Michigan UP, 2001

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