Earticle

초록

영어

This paper attempts to survey a series of experimental Hamlet productions under military dictatorship, when assassination, coup d’etat, usurpation, corruption, and state violence were daily realities in the 1980s Korea. When freedom of speech was curbed, Shakespeare’s old, foreign story was endowed with contemporary and local meanings, and became an apt vehicle of political reflection and social communication. This is localization in a more profound sense, not just dressing the Bard in drag or setting his plays to folk music and dance. The understanding Korean audience did not come to the theatre appreciate a Western masterpiece or to enjoy a polished performance, but to participate in an intellectually stimulating and emotionally disturbing experience. While Shakespeare’s concern in Hamlet is primarily about the royalty and nobility, the common people take center stage in these Korean adaptations—as bystanders, innocent victims, and maybe even involuntary accomplices, who see that the time is out of joint but feel incapable of setting it right. Thus recontextualized, Hamlet is a tragedy not of an individual or a family, but of the entire society afflicted by madness and terror. In a sense, the performance on stage is no more than a rehearsal, in preparation for real action outside the theatre.

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 Abstract

키워드

저자

• Kang Kim [ Honam University ]

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