희곡의 해석방법 및 과정
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작성일 23-01-09 21:11본문
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,인문사회,레포트
희곡의해석방법및과정
Ⅰ.서론······························································1
1.문제제기 및 연구목적·············································1
2.연구사 및 연구방법···············································6
Ⅱ.연극의 속성으로서의 ‘놀이성’과 그 표현방법·······················12
1.‘경쟁을 표현하는’ 놀이로서의 연극·······························12
1)연극의 본질적 양식으로서의 놀이·······························12
2)연극에서의 경쟁의 층위········································15
2.작가의 의도 표현으로서의 갈등 구조······························16
1)갈등 구조의 核心(핵심)으로서의 주체자······························16
2)작가 의도의 비유적 표현으로서의 등장인물의 언어···············22
(1)질서의 형성과 거부··········································23
(2)반대자에 대한 태도 표현으로서의 전환 어법···················24
Ⅲ.놀이 구조의 유형과 기능 ·········································28
1.양주별산대놀이··················································28
1)주체자의 역전 구조············································28
2)등장인물의 언어적 특징········································38
(1)반복법 - 율동미를 통한 몰입 기능····························38
(2)속어와 비어-고상함에 대한 속됨의 승리·······················42
(3)육담-정신에 대한 육체의 승리································44
3)변증법적 합일 구조 - 민중의 소망 세계 구현····················47
4)집단연희로서의 기능···········································49
2.이근삼의 <제십팔공화국>·········································53
1)주체자의 부재·················································53
2)등장인물의 언어적 특징········································56
(1)반복의 거부 - 극에의 몰입 거부······························56
(2)상황에 부조화된 언어········································59
(3)무의미한 언어···············································60
3)아이러니 구조 - 왜곡된 현실상 재현····························63
4)기법을 통한 인식의 기능·······································66
Ⅳ.놀이로서의 희곡의 구조와 그 함의·································69
1.희곡 해석의 틀로서의 놀이구조 ··································69
2.세계관 파악을 위한 놀이 구조의 요소·····························78
1)주체자의 추구 대상이 지닌 가치································78
2)주체자의 승리 여부············································81
3.놀이를 통한 文化(culture) 창조의 지향성··································82
1)변증법적 구조 - 공동체 의식과 조화의 지향·····················84
2)아이러니 구조 - 개별화와 부조화의 지속························86
4.文化(culture) 교육으로서의 희곡교육 ······································90
Ⅴ.結論(결론)·····························································93
<출처>··························································96
ABSTRACT ·························································101
취발이:(놀라서 물러서면서) 네밀할 것 술 서너잔 먹어 얼굴이 지지버얼 거니깐두루 상봉 독수리가 꾸미자반인 줄 알구 훅훅 넘나들구 이 거 깨딱하다간 얼굴 잃어버리겠다. 이러한 착각은 취발이의 잘못에서 기인한 것이 아나라 노장의 모습이 착각을 하도록 만들었다는 데에서 기인하기 때문일것이다 또한 이러한 일시적인 착각은 바로 이어서 사태를 제대로 파악함으로써, 누구나 인간이면 가끔씩 저지를 수 있는 실수로 처리되어, 공격의 대상이 되지 않는다.희곡의해석방법및과정 , 희곡의 해석방법 및 과정인문사회레포트 ,
순서
희곡의 해석방법 및 과정에 대한 글입니다.
샌 님:네 이놈 어디 갔더냐.
말뚝이:샌님을 찾으려고요.
샌 님:어두루.
말뚝이:..샌님의 새끼라곤 강아지 애들 녀석 하나 없길래 아는 친굴 다 시 만나서 물어 보니깐 떵꿍하는 데로 갔다 하길래 여기와서 발랑 발랑 찾아 여기를 오니깐두루 내 증손자 외아들놈의 샌님을 예와 서 만나 봤구려. …(skip)
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설명
희곡의 해석방법 및 과정
희곡의 해석방법 및 과정에 대한 글입니다. (제6과장, 제3경)
여기서 관객은 독수리가 아니라 노장임을 알고 취발이의 착각에 대해 우월감을 느끼며 웃을 수 있다 그러나 여기서의 우월감은 공격성을 띤 것이라기 보다는 그저 우스워서 웃는 것이다.
그런데 다음의 샌님의 경우는 일시적인 착각이 아니라 끝내 무지함으로 남는다.