Earticle

초록

영어

The purpose of this paper is to analyze Hamlet’s role-playing from the perspective of stage clowns’ traditions in Shakespearean theatre. First of all, I propose three kinds of Shakespearean clowns: professional actor- clowns, mock-clowns and clownlike role-playing. In Shakespeare’s comedies, clowns, or often called as a fool, are a kind of theatrical device to encourage the festivity and dynamics of the play or its performance, crossing the boundary between the stage and the audience. They are like a critical advisor within the play, while communicating directly with audience as an interpreter or a mediator like Greek chorus. Shakespeare’s tragedies are no exception. In Hamlet, it is Hamlet himself who plays a role of a clown by putting an antic disposition on. His mask allows him to enjoy the liminal freedom of playing at the area of platea, where he can view his world from a distance and closely connect with audience as a clown does. Hamlet also leads other characters, such as Polonius, Rosencrantz and Guildenstern, to share his role of clowning. They function as mock-clowns, unconsciously sharing Hamlet’s clowning for the effect of comic relief. In addition, Hamlet continuously prepares for his final goal of revenge on Claudius in his main plot through this comically metaphoric subplot playing with his mock-clowns. Therefore, Hamlet’s clowning strategy accomplishes Shakespearean theatrical rhythm which mutually complements tragic seriousness and comic playfulness.

목차

I. 서론
 II. 햄릿의 자발적 광대놀이
 III. 햄릿에 의한 무의식적 광대놀이
 IV. 결론
 Works Cited
 Abstract

키워드

저자

• 김나영 [ Nayoung Kim | 이화여자대학교 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  영어영문학연구 [The Jungang Journal of English Language and Literature]

• 간기

  계간

• pISSN

  1598-3293

• 수록기간

  1968~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 840 DDC 810