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      퍼포먼스 글쓰기로서의 『정화』(Cleansed): 재현적 글쓰기에서 벗어나기 = Cleansed as an Example of Performance Writing

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      https://www.riss.kr/link?id=A60016546

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      다국어 초록 (Multilingual Abstract)

      Performance writing refers to work in which the pattern of writing is different from the dramatic text, in which dramatic conflict is at the core of the text and the play is constructed to form a climax. Performance writing which focuses on the process and in-between is different from realistic representation. In performance writing, meaning is so temporary, contextual, unstable and incomplete that everything becomes a process. Therefore, meaning can be achieved here through the performative process and through the evocative effect of the writing. The performative is the co-existencebetween the stage and the audience or between the actor and the audience. Cleansed, by Sarah Kane, is a performance writing. Firstly, Cleansed reveals several aspects of performance writing in terms of liminality, materiality, and performativity. Tinker and Rod reveal the liminal state of the characters, as the audience witnesses the formation of new and changed versions of Tinker and Rod. This liminality induces the audience to experience the text in a new way. Secondly, Cleansed belongs to the category of the in-yer-face theatre. In-yer-face theatre is experiential; the audience comes to experience violence and atrocities, and by doing so, they can undergo a change because of the shock effects the performance induces and because of the materiality of the attacked body. This materiality can make the audience feel the presence of the actors` bodies. When the materiality of the actors is emphasized, the performative connection between the stage and the audience is also enhanced. Cleansed is also an evocative form of writing. Evocativeness is one of the many aspects of performance writing, as pointed out by Della Pollock. Evocative writing reveals the various possibilities of the work, appeals to the emotions of the audience, and exposes the absence of being, instead of dealing with causality and logic. For example, the ring in the play does not have any fixed meaning. It is open to interpretation. This object becomes a poetic image. And images are so open to interpretation that they induce the active participation of the audience in the play. Accordingly, the images increase the degree of performativity of the play. Furthermore, the images appeal to the senses and emotions of the audience. Through these aspects, Cleansed is a good example of performance writing.
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      Performance writing refers to work in which the pattern of writing is different from the dramatic text, in which dramatic conflict is at the core of the text and the play is constructed to form a climax. Performance writing which focuses on the proces...

      Performance writing refers to work in which the pattern of writing is different from the dramatic text, in which dramatic conflict is at the core of the text and the play is constructed to form a climax. Performance writing which focuses on the process and in-between is different from realistic representation. In performance writing, meaning is so temporary, contextual, unstable and incomplete that everything becomes a process. Therefore, meaning can be achieved here through the performative process and through the evocative effect of the writing. The performative is the co-existencebetween the stage and the audience or between the actor and the audience. Cleansed, by Sarah Kane, is a performance writing. Firstly, Cleansed reveals several aspects of performance writing in terms of liminality, materiality, and performativity. Tinker and Rod reveal the liminal state of the characters, as the audience witnesses the formation of new and changed versions of Tinker and Rod. This liminality induces the audience to experience the text in a new way. Secondly, Cleansed belongs to the category of the in-yer-face theatre. In-yer-face theatre is experiential; the audience comes to experience violence and atrocities, and by doing so, they can undergo a change because of the shock effects the performance induces and because of the materiality of the attacked body. This materiality can make the audience feel the presence of the actors` bodies. When the materiality of the actors is emphasized, the performative connection between the stage and the audience is also enhanced. Cleansed is also an evocative form of writing. Evocativeness is one of the many aspects of performance writing, as pointed out by Della Pollock. Evocative writing reveals the various possibilities of the work, appeals to the emotions of the audience, and exposes the absence of being, instead of dealing with causality and logic. For example, the ring in the play does not have any fixed meaning. It is open to interpretation. This object becomes a poetic image. And images are so open to interpretation that they induce the active participation of the audience in the play. Accordingly, the images increase the degree of performativity of the play. Furthermore, the images appeal to the senses and emotions of the audience. Through these aspects, Cleansed is a good example of performance writing.

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      참고문헌 (Reference)

      1 김영덕, ""완벽한 몸":사라 케인의 『정화』에 나타난 훈육, 욕망, 신체" 한국영미어문학회 (84) : 85-102, 2007

      2 이미원, "한국 탈놀이의 ‘수행성’ 연구" 한국연극학회 (42) : 5-27, 2010

      3 심재민, "포스트드라마의 몸: 현상학적인 몸의 현존 방식에 대한 레만의 해석" 한국연극학회 (42) : 157-191, 2010

      4 강수미, "예술가 신체의 물질/비물질성" 서양미술사학회 (34) : 231-256, 2011

      5 이정우, "시뮬라크르의 시대" 거름 1999

      6 이용은, "셰익스피어 공연에서의 수행적 실험과 포스트모던적 현대성 —제의적 수행에서 관객이 ‘쓰는’ 놀이적 수행까지" 한국 고전 르네상스 영문학회 19 (19): 249-272, 2010

      7 윤성우, "들뢰즈: 재현의 문제와 다른 철학자들" 철학과 현실사 2004

      8 Urban, Ken, "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the ‘Nineties" 20 : 354-372, 2004

      9 Fischer-Lichte, Erika., "The Transformative Power of Performance: A New Aesthetics" Routledge 2008

      10 McKenzie, Jon, "The Liminal-Norm, In The Performance Studies Reader" Routledge 26-27, 2004

      1 김영덕, ""완벽한 몸":사라 케인의 『정화』에 나타난 훈육, 욕망, 신체" 한국영미어문학회 (84) : 85-102, 2007

      2 이미원, "한국 탈놀이의 ‘수행성’ 연구" 한국연극학회 (42) : 5-27, 2010

      3 심재민, "포스트드라마의 몸: 현상학적인 몸의 현존 방식에 대한 레만의 해석" 한국연극학회 (42) : 157-191, 2010

      4 강수미, "예술가 신체의 물질/비물질성" 서양미술사학회 (34) : 231-256, 2011

      5 이정우, "시뮬라크르의 시대" 거름 1999

      6 이용은, "셰익스피어 공연에서의 수행적 실험과 포스트모던적 현대성 —제의적 수행에서 관객이 ‘쓰는’ 놀이적 수행까지" 한국 고전 르네상스 영문학회 19 (19): 249-272, 2010

      7 윤성우, "들뢰즈: 재현의 문제와 다른 철학자들" 철학과 현실사 2004

      8 Urban, Ken, "Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the ‘Nineties" 20 : 354-372, 2004

      9 Fischer-Lichte, Erika., "The Transformative Power of Performance: A New Aesthetics" Routledge 2008

      10 McKenzie, Jon, "The Liminal-Norm, In The Performance Studies Reader" Routledge 26-27, 2004

      11 Saunders, Graham, "Sarah Kane and the Theatre of Extremes" Manchester UP 2002

      12 Sierz, Aleks, "Rewriting The Nation" Methuen Drama 2011

      13 Pollock, Della., "Performing Writing, In The Ends of Performance" New York UP 73-103, 1998

      14 Freeman, John., "New Performance/New Writing" Palgrave Macmillan 2007

      15 Sierz, Aleks, "In-Yer-Face Theatre: British Drama Today" faber and faber 2001

      16 Berns, Ute., "History and Violence in British Epic Theatre: From Bond and Churchill to Kane and Ravenhill, In New Beginnings in Twentieth-Century Theatre and Drama" Brigitta Disseldorf 49-72, 2003

      17 Kane, Sarah, "Complete Plays" Methuen Drama 2001

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2028 평가예정 재인증평가 신청대상 (재인증)
      2022-01-01 평가 등재학술지 유지 (재인증) KCI등재
      2019-01-01 평가 등재학술지 선정 (계속평가) KCI등재
      2018-01-01 평가 등재후보학술지 유지 (계속평가) KCI등재후보
      2017-01-01 평가 등재후보학술지 유지 (계속평가) KCI등재후보
      2016-01-01 평가 등재후보학술지 유지 (계속평가) KCI등재후보
      2015-01-01 평가 등재후보학술지 유지 (계속평가) KCI등재후보
      2013-01-01 평가 등재후보학술지 유지 (기타) KCI등재후보
      2012-01-01 평가 등재후보학술지 유지 (기타) KCI등재후보
      2011-01-01 평가 등재후보학술지 유지 (등재후보1차) KCI등재후보
      2009-01-01 평가 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.32 0.32 0.33
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.46 0.49 0.732 0.5
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