나탈리 사로트의 말의 연극 - 『이유 없는 갈등』을 중심으로 = The Theatre of Speech of Nathalie Sarraute based on Pour un oui ou pour un non

다국어 초록 (Multilingual Abstract)

After pondering about the role of language in literature, Nathalie Sarraute began to write a play in 1964. She had already set her own literary purpose thirty years ago at that time in her work Tropismes. The term ‘tropisms’, borrowed from botany, originally means a plant``s reaction to external stimuli. Sarraute used this term in her play to signify human``s instinctive reaction to provocations or existences of others, which precedes perception and linguistic expression and also can cause speaking and action. Meanwhile it can be said that for Sarraute, neither dramatic actions nor psychological descriptions of characters are the key element of the play``s success, but only the literary text, the language, the dialogue, and most fundamentally, the speech. In Pour un oui ou pour un non, which was described as ‘logodrama’ by Arnand Rykner, Sarraute distinctively shows two types of speech based on her psychological and linguistic analysis : action-speech which changes the situation, revealing hidden movements of the ‘sub-conversation’ and tool-speech used to transmit information which is necessary for the progress of an overall and a detailed plot. Hence, the drama itself becomes both cause and consequence of speech. If you consider most of the drama``s situation as banal, then it would be hard for you to find any specialty in this play. The characters, too, can not be characterized by psychological or typical social behavior. They do not have names but merely categorized as H(male)1, H2, H3, and F(female). They do not seem to be actors who perform specific characters of fictional world, but just seem to be no more than ‘the mere medium of language, channel and lightning rod which tropisms pass through’. Everything unfolds in the realm of speech in this play. Thus it is important to understand the changing of words to the extent of seeing through prelinguistic and preconscious movements and structures of language which originate changes. Thus, Sarraute``s play demands high quality of hearing and keen understanding from audiences as well as actors and directors. Nevertheless Pour un oui ou pour un non definitely is the ‘theatre of speech’, and not only the play itself but also the author``s idea on drama aesthetics still holds great significance in the modern French theatrical world. It is because all the Sarraute``s plays themselves are part of meaningful researches on language, and the powerfulness and creativity of this research became a new way of using language, causing a remarkable influence on the post-1970s playwriters who struggled to surpass the theater of the absurd.

참고문헌 (Reference)

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