브라이언 프리엘과 유치진의 극 세계 비교: 체호프의 극작법 그리고 (탈)식민지 담론을 중심으로

Abstract

This essay explores the influence of Chekhov’s dramaturgy in plays of Brian Friel and Ryu Chi-Jin, and analyzes the meaning in their theatre theory from the viewpoint of Homi Bhabha’s (post)colonial theory. Chekhov’s works have been embraced throughout the world. His plays offer everyday conversations. Also, he concentrated on subtleties of characterization and interaction between characters rather than on plot and direct action. In his play important dramatic events take place off the stage. These techniques are seen in the plays of Brian Friel and Ryu Chi-Jin. They cherish Chekhov’s extraordinary insight into the lives of the ordinary and follow his ideas. Friel’s plays deal with identity, the notion of truth, and communication, which he explores through the nature of language. Identity is formed through memory, both public and private, and it is the collective memories of a community which distinguish it from others. Ryu Chi-jin was the representative Korean modern drama writer in colonial period. However, his symbolic position was shrunk after the liberation in 1945 for the activity of “National Theater,” controlled by Japan, in the last years of colonial period. They had learned the most from Chekhov’s themes and techniques, and applied them most subtly.