기억의 무대화와 퍼포먼스 방식- 브라이언 프리엘(Brian Friel)의 작품에 나타난 개인 기억과 집단 기억을 중심으로

Abstract

This paper examines Friel's consistent interest in narrowing the gap between the collective memory and the individual memory in his dramatic output. Memories can be interpreted through the lens of an individual, as well as the perspective of a group. It is generally said that collective memory is a mode of memory that transcends individuals and is shared by a group and individual memory is defined as a personal interpretation of an event from ones own life. His plays such as Making History, Dancing at Lughnasa, The Freedom of the City and Living Quarters focus on how the important moments in Irish history have been remembered or narrativised in the present. Friel have raised issues of ethnic and racial classifications and hierarchies that can be related to diverse historical and contemporary global context. Friel recognizes remembrance is an existential relation to the past and to the self; memory is essential to both individual and communal identity. In practice, individual and collective memories are often in tension, and the recollections of individuals frequently challenge the construction of partial accounts designed primarily to achieve collective unity. Friel shows theatrical representations of the past on stage and looks for various ways to examine remembering as the communication of an individual experience within a particular socio-cultural context. This paper deals with Friel's ways staging of memory which dramatizes the difference between individual experiences and historical records as collective memory on the specific event through theatrical technique such as documentary dramaturgy or displays the performativity of the traditional rituals or the body on stage.