서양희곡 연극론 : 『 매장된 아이 』 의 발굴 : 샘 셰퍼드 공연을 위한 극작술 연구 = A Dramaturgical Approach to Shepard`s Buried Child

다국어 초록 (Multilingual Abstract)

Having written more than forty full-length and one-act plays since the mid 1960`s, Sam Shepard is one of the most inventive and prolific playwrights. More than any contemporary American playwright, he has woven into his own dramatic idiom the strands of a youth culture thriving on drugs, rock music, science fiction, detective stories, cowboy films, and races of cars. One of his favorite subjects is, however, the shattering of the American family. In Buried Child a surly old man suggests that love and friendship are ties that can be thicker than blood and that parents and children earn their relationships, just as homesteaders have to earn or defend the land they inhabit. This is probably his lesson for his independent, freewheeling grandson who is also deeply concerned with his identity and roots. In this family play Shepard strives for mythic dimensions, employing mythological motives of the Com King and Oedipus. Although the familial sin of incest and murder stifles freedom and creativity in the young, Vince bcomes hope for future life against the bitter, hidden truth that emerges at the end in the form of the buried child. To make Buried Child more accessible to the audience, I basically propose two things: one is to make the audience recognize the repetitive patterns as of the appearance of vegetables; the other, to concentrate on visual imagery by making the strange familiar, and the familiar, strange.