루시 프레블 『엔론』 공연의 수행적 재현 방식 연구: 포스트 서사극적 장면 구성을 중심으로

초록

Lucy Prebble's Enron takes the 2001 Enron scandal as its point of departure to expose the struc tural instability of contemporary capitalism and the mechanisms of desire. This study argues that Enron goes beyond representing historical and economic narrative, enabling audiences to experience performatively the abstract structures and violence of the capitalist system through sensory arrange ment of the actor’s body, images, sound, video, and object. The central argument is that the post-ep ic theatrical characteristics of Enron reside not in the elimination of narrative, but in its reorganiza tion within a sensation-centered scene structure. The study combines Hans-Thies Lehmann's postdramatic theatre, Stegemann's post-epic theatre, and Erika Fischer-Lichte's theory of performativity to establish "performative representation" as its core analytical framework. Performative representation describes how, after the weakening of narra tive-centered structure, meaning is generated relationally and processually through the interaction of actor, audience, body, and space. Drawing on Practice-as-Research (PaR) methodology, the study in tegrates direct production participation into the analytical process to examine how performative structures operate at the level of embodied experience. The analysis reveals three dimensions of performative meaning-making in Enron. First, the juxta position of image and sound leads audiences to experience sensory collision rather than causal narrative. Second, the actor's body functions as a performative element—interacting with objects and video—to render visible the structural void of the capitalist system. Third, direct address, gaze, and shared sonic information position the audience as simultaneous perceivers of events. By combining post-epic theatre theory with PaR, this study illuminates an aesthetic shift in con temporary theatre from representation-centered toward performativity and sensation-centered structures. It further demonstrates a concrete link between theory and practice in theatre education by converting em bodied performance experience into analytical data that integrates body, media, and audience relations.

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