Earticle

초록

영어

This essay analyses Sarah Kane's Blasted in the theories of Antonin Artaud, Marquis De Sade, and of Gilles Deleuze. As one of the Thatcher's children, Kane very well recognized what was placed beneath the social order of Britain in her age which was violence. Therefore in Blasted and in all of her career, trying to find new theatrical forms which called later the experimental theatre, she sought to break from the old British theatrical style which was a journalistic realism functioning as a ‘talking head’. Artaud's theory of the theatre of cruelty tells us how Blasted worked as a play that affect audience's emotion directly by the cruelties of the play. According to Artaud, ‘first comes the emotion, the thinking afterword' is the way of the theatre working. Extrapolating on the basis of the theory of Sade, we are able to understand what was a hidden principle of Britain, at least her generation. Kane made an attempt to reveal it and wanted theatre-goers to notice that principle. The theory of Deleuze, expecially on Spinoza's ethics, explains what kind of ethics possible in Blasted. It is ethics of ‘good’ and ‘bad’ rather than ‘good’ and ‘evil’. Characters in the play show how to follow good mode of being and how to deny bad mode of being by their relations to each others. Blasted is certain one of the most shocking plays in the contemporary theatre, but distinctly is the play that opens up a new ethical possibility.

목차

I. 서론
 II. 아르토의 잔혹극 이론과 『폭파』
 III. 사드와 ‘악’으로서의 법
 IV. 폭파 이후의 좋음과 나쁨의 윤리
 V. 결론
 인용문헌
 Abstract

키워드

저자

• 박세원 [ Sewon Park | 부산대학교 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  영어영문학21 [English21]

• 간기

  계간

• pISSN

  1738-4052

• 수록기간

  1967~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 840 DDC 820