Yeats, Beckett and Friel: Tradition or Counter-Tradition?

서지정보

ㆍ발행기관 : 한국예이츠학회 ㆍ수록지정보 : The Yeats Journal of Korea / 36권
ㆍ저자명 : Anthony Roche

목차

Abstract
우리말 요약
Notes
Works cited

한국어 초록

예이츠는 아일랜드 연극의 주요 전통은 사실주의라 주장한다. 그리고 그의 희곡은 그 반대며, 객관적이기 보다 주관적이고, 반자연주의적이고 상징적이라고 주장한다. 이 논문은 예이츠 사후, 아일랜드의 가장 위대한 두 희곡작가 사무엘 베케트와 브라이언 프리엘에 대한 심대한 영향을 추적한다. 베케트는 1938년 더블린의 애비 극장에서 예이츠의 마지막 극 연옥의 공연을 보았다. 그 영향은 1950년대 베켓의 가장 위대한 희곡

영어 초록

Yeats argued that the mainstream tradition of Irish theatre was realist, and that his drama was the opposite; subjective rather than objective, anti-naturalistic and symbolic. This article traces the profound influence of Yeats's drama on the two greatest Irish playwrights to have emerged since his death: Samuel Beckett and Brian Friel. Beckett was present at the production of Yeats's last staged play, Purgatory, at Dublin's Abbey Theatre in 1938. Its impact is evident in the minimalist staging, stylisation and dramaturgy of Beckett's two great plays in the 1950s: Waiting for Godot and Endgame. Brian Friel quotes Yeats's poetry extensively in his 1966 play, The Loves of Cass McGuire but it is the impression of his dramaturgy that is stronger, in this play and throughout Friel's lengthy career. Particular attention is paid to the presence of live people on stage who turn out to be dead, one of the main ways Friel draws on Yeats to avoid 'the tawdry device of realism'. The article concludes that what was once the counter-tradition of Yeats is now the tradition of Irish theatre.

참고 자료

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