Naru's Happy Travel
DOI : http://dx.doi.org/10.14354/yjk.2019.58.135
W. B. 예이츠의 호주 극작가 루이스 에슨의 3편의 단막극에 미치는 극작 영향
대만국립대
receipt acknowledged: Mar. 4, 2019. revision received: Apr. 15, 2019. publication approved: Apr. 22, 2019.
W. B. Yeats’s Dramaturgical Influence on Three One-Act Plays by the Australian Playwright Louis Esson
Li,
National Taiwan University
Abstract
This paper traces W. B. Yeats’s bearings on the Australian playwright Louis Esson. The branching out of Yeats’s influence in discussion can be traced back to one single play, Cathleen Ni Houlihan (1902). Cathleen Ni Houlihan is structured by the twin formal factors, the diegetic-space centeredness, and the mimesis of the protagonist’s embodied reorientation, which together constitute what I call “the technique of spatialization.” What Esson takes from this play, by reconstruction, is not the perpetuation of Irish folklores, but the staging form of spatialization. This particular staging technique has been extensively adapted by Esson to offer the spectators the imagination of the hostile space of Australia in three one-act plays, including Dead Timber, The Sacred Place, and The Drovers. This essay looks at the global Yeats in these plays in the context of early twentieth-century Anglophone modernism and offers a way to explain how the (re)mapping of space is at stake in the playwriting for cultural nationalism.
본 논문은 호주 극작가 루이스 에슨에 대한 예이츠의 관계를 규명한다. 예이츠의 영향은 단막극

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