소극(farce)의 ‘낯설게 하기’에 의한 놀이성 양상 연구

초록

The characteristic of farce, a theatrical genre formed in the mid-15th century based on literary forms, is that it consists of the physical actions of actors and accidental events rather than the completeness of the plot. Farce elicits laughter of audience by intentionally distancing itself from the audience and revealing the suppressed human nature through reliance on the actor's body. Similar to Brecht's method of inducing critical thinking of the audience and preventing their emotional identification with the events on stage by causing defamiliarization through distancing from the audience, farce makes the audience an active participant in the play by generating the energy of laughter instead of empathy through exaggerated and explicit physical representations of the actors, meaning that the form of farce structurally contains Brecht's 'defamiliarization' method. This study, in this context, argues that the audience's laughter in farce is created through a process similar to Brecht's 'defamiliarization' technique and that the playfulness of farce lies in the audience's participation through defamiliarization. This study, accordingly, clarifies the form of farce as ‘defamiliarization’ and argues that farce not only reinforces the essential meaning of theatre as the interaction between actors and audience, but also induces the audience as the subject of meaning production through theatre as play. The passive laughter is intended to prove that it protects the essence of the play, which establishes the audience as the subject of meaning creation, as the product of the play activities created by the actors and audiences coexisting here and now, that is, the energy created by interaction. I would like to define the theatricality of passive as the comedy by 'unfamiliarizing', and consider how the method of creating laughter of passive as a play and how the aspect fits the 'unfamiliarizing' technique. This is also to restore the meaning of the true laughter of passive, which has been denigrated as a play that only induces laughter for a long time. The passive laughter is intended to prove that it protects the essence of the play, which establishes the audience as the subject of meaning creation, as the product of the play activities created by the actors and the audience coexisting here and now, that is, the energy created by interaction.

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