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When you follow your bliss... doors will open where you would not have thought there would be doors; and where there wouldn't be a door for anyone else.
Eternity has nothing to do with the hereafter... This is it... If you don't get it here, you won't get it anywhere. The experience of eternity right here and now is the function of life. Heaven is not the place to have the experience; here's the place to have the experience.
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°ÀÇÁß Âü°íÀÚ·á :
Dutton,
Richard Modern Tragicomedy and the British Tradition,
The Havard University
Press, 1986.
PART I : Tragicomedy
PART II : Waiting for Godot by
Samuel Beckett
PART III : Individual Articles
IN CONCLUSION
ÀÌ ¾Æ·¡ÀÇ ³»¿ëÀº È®Á¤µÈ °ÀÇÀÏÁ¤ÀÌ ¾Æ´Ï´Ï ¹«½ÃÇϼ¼¿ä. Âü°íÇÒ ÀڷḦ ¸µÅ©ÇصР°ÍÀÔ´Ï´Ù.
4¿ù 19ÀÏ(È)
FEMINIST REREADINGS INTRODUCTION -- ¿ä¾à°ú ÅäÀÇ:
4¿ù 21ÀÏ(¸ñ)
FEMINIST REREADINGS PART Two Arthur Miller -- ¿ä¾à°ú ÅäÀÇ:
4¿ù 26ÀÏ(È) Àå¸é ½Ç½À: [Striptease] ÅäÀÇ
Peter
Brook's [The Empty Space] Part One Á¦ 1Àå Ä¡¸íÀû Á×Àº ¿¬±Ø --¿ä¾à°ú ÅäÀÇ:
4¿ù 28ÀÏ(¸ñ) Peter
Brook's [The Empty Space] Part Two --¿ä¾à°ú ÅäÀÇ:
Mythic Reflections Thoughts on myth,
spirit, and our times
an
interview with Joseph Campbell, by Tom Collins
Arthur Kopit -- Indians Amiri Baraka -- The Dutchman
5¿ù 03ÀÏ(È) Àå¸é
½Ç½À
Brook Chapter Two --¿ä¾à°ú ÅäÀÇ:
5¿ù 05ÀÏ(¸ñ) ¾î¸°ÀÌ ³¯ °øÈÞÀÏ (OFF)
5¿ù 09ÀÏ(È)
Oliver Sacks M.D.ÀÇ ÀÏÁöAwakening ¸¦ Åä´ë·Î ¸¸µé¾îÁø Èñ°îÀÛǰµé ¹× ¿µÈµé¿¡ °üÇÑ ÀÚ·á
³¯ ÀÚ/¿ä ÀÏ/ ÀÛǰÁ¦¸ñ : ¹ßÇ¥ÀÚ
3¿ù 3ÀÏ(¸ñ) °Àdz»¿ë ¼Ò°³ / °Àǰèȹ¼ ÀÛ¼º / ȨÆäÀÌÁö ¼Ò°³ / PPT ¹× HTML ¹ßÇ¥ÀÚ·á ÀÛ¼º
What
is HyperText?
Hypertext and Multimedia Resources
The Electronic Labyrinth
¸Å¿ì °£´ÜÇÑ È¨ÆäÀÌÁö(hyper-text) ¸¸µé±â
M. M.
Badawi BACKGROUND
TO SHAKESPEARE ÂüÁ¶
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hypertext·Î ÀÛ¼ºÇÏ´Â °ÍÀ» ¿øÄ¢À¸·Î ÇÑ´Ù.
Gross, Roger Understanding Playscripts
Francis Hodge Play Directing : Analysis, Communication, Style
3¿ù 8ÀÏ(È)
Àå¸é ½Ç½À : ´Ü¸·±Ø ½Ç½À Àå¸é ¸ðÀ½
Àå¸é ¿¬½À : ¾ÈÅæ üȩÀÇ [“T²Éµ¿»ê]-- Anton Chekhov The Cherry Orchard /
Harold Pinter The Dumb Waiter(Çѱ۴ë»ç) ;
Harold
Pinter The Dumb Waiter(¿µ¹®´ë»ç)
´Ò »çÀÌ¸Õ Visitor from Forest
Hills / Nikolai Gogol[The
Marriage]
À̰¹éÀÇ [°áÈ¥] ¿µ¹®
Mrozek's [The Striptease] ¼Ò°³
µå¶ó¸¶21c ÀÚ·á½Ç:
A
Albee, Edward
Akutagawa,
Ryunosuke
Artaud,
Antonin
Ayckbourn,Allan
3¿ù 10ÀÏ(¸ñ)
¿µ¾î¿¬±Ø [The Striptease] °ø¿¬ ´ëº» ÀÐ¾î ¿Í¼ ÇÔ²² ÅäÀÇ
Edward
AlbeeÀÇ [The Zoo Story] ÅäÀÇ
WHICH THEATER IS
THE ABSURD ONE? By Edward Albee
Edward Albee Interviewed by Lester Strong
¿µ¾î¿¬±Ø °ø¿¬ [Suddenly
Last Summer] °ø¿¬ --10ÀÏ(¸ñ)ºÎÅÍ 12ÀÏ(Åä)±îÁö ÀÚÀÛ¸¶·ç(¼Ò°´ç)
¸ñ/±Ý
6½Ã¹Ý Åä 2½Ã & 6½Ã¹Ý
3¿ù 15ÀÏ(È)
On
Tragicomedy (Dutton °³¿ä ¼³¸í) &
Peter Brook The Empty Space (°³¿ä ¼³¸í)
John Ciardi
Robert Frost : The Way to the Poem
HYPERTEXT·Î ¸¸µç [¿¬±Ø¼±»ýÀÌ ¾´
¿µÈÀ̾߱â]
3¿ù 17ÀÏ(¸ñ)
Çì·Ñµå ÇÉÅÍÀÇ ´Ü¸·±Ø [The
Dumbwaiter] ÅäÀÇ
(¿µ¹®´ëº»°ú ¾Æ·¡¿¡ ¸µÅ©µÈ ÀÚ·áµéÀ» ÀÐ°í ¸Þ¸ðÇØ¿Ã°Í.)
Harold Pinter 1930-
The Absurdity of Dread: Pinter's The Dumb Waiter
CHARLES A. CARPENTER
The Dumb Waiter :
Pinter's Play with the Audience
THOMAS F. VAN LAAN
The Dumb Waiter : Undermining the Tacit Dimension AUSTIN E. QUIGLEY
Çì·Ñµå ÇÉÅÍÀÇ [´ý ¿þÀÌÅÍ] ¸Þ¸ð Harold Pinter's The Dumb Waiter
´ý¿þÀÌÅÍ ±¹¹®´ëº» (ÀåÀº¼º ¹ø¿ª)
´ý¿þÀÌÅÍ ±¹¹®´ëº» (À±¿µ¼± ¹ø¿ª)
THE DUMB WAITER by Harold Pinter ¿µ¹®´ëº»
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Çì·Ñµå ÇÉÅÍ í [´ý ¿þÀÌÅÍ] (Àå¸é ´ë»ç)
<REVIEW> Harold Pinter's The Caretaker
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Harold PinterÀÇ Mountain Language¿¡ ³ªÅ¸³
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Çì·Ñµå ÇÉÅÍÀÇ [Homecoming] Âü°íÀÚ·á
Çì·Ñµå ÇÉÅÍÀÇ [´ý ¿þÀÌÅÍ] Âü°íÀÚ·á
THE DUMB WAITER by Harold Pinter ¿µ¹®´ëº»
THE DUMB WAITER by
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3¿ù 29ÀÏ(È) (Çѱ¹Èñ°î) Çѱ¹¿¬±Ø ÅäÀÇ ¸Þ¸ð
Àå¸é ½Ç½À ´Ü¸·±Ø ½Ç½À Àå¸é ¸ðÀ½
3¿ù 31ÀÏ(¸ñ) Àå¸é ½Ç½À ´Ü¸·±Ø ½Ç½À Àå¸é ¸ðÀ½
·ù¿µ±ÕÀÇ [¿µ¾î¿¬±Ø°ú ¿µ¾î±³À°] ȨÆäÀÌÁö http://drama.home.uos.ac.kr/
4¿ù 5ÀÏ(È) ½Ä¸ñÀÏ °øÈÞÀÏ(OFF)
4¿ù
7ÀÏ(¸ñ) Sam Shepard True
West (ÁøÂ¥ ¼ºÎ±Ø) ÅäÀÇ :
Geography of a Horse
Dreamer / Fool for Love/ A Lie of the Mind / La Turista / The Tooth of Crime / Operation
Sidewinder
A
Memo on True West
Article : Orbison's
Mythic Levels of [True West] ; Mythic Levels in
Shepard's [True West] article ¿ä¾à ÅäÀÇ
³í¹® : Sam ShepardÀÇ Èñ°î¿¡ ³ªÅ¸³ª´Â À̹ÌÁöµéÀÌ
°®´Â ±ØÀû ±¸¼º»óÀÇ ±â´É
Sam ShepardÀÇ Angel City¿¡ Åõ¿µµÈ
¿µÈ»ê¾÷ÀÇ ÀÚ°¡´çÂø
ȯ»ó°ú Çö½ÇÀÇ Àüµµ(ï´Óî) : »ù ¼ÎÆÄµå
(Sam Shepard)ÀÇ Fool for Love
Sam Shepard --Geography
of a Horse Dreamer ÅäÀÇ
D. H. Lawrence (1885-1930) The
Rocking-Horse Winner¸¦ Àоî¿À¼¼¿ä.
Sam Shepard --Geography
of a Horse Dreamer ¿Í ºñ±³ÇÏ¿© ÅäÀÇÇսôÙ.
4¿ù
12ÀÏ(È) Albee, Edward --The Zoo Story Three Tall Women American Dream
Delicate Balance ÅäÀÇ
Three Tall Women Albee, Edward Three Tall Women ; American Dream
Àå¸é ½Ç½À ´Ü¸·±Ø ½Ç½À Àå¸é ¸ðÀ½
Sam Shepard True
West (ÁøÂ¥ ¼ºÎ±Ø) ÅäÀÇ :
Geography of a Horse
Dreamer / Fool for Love/Buried Child/Angel City
A Lie of the Mind / La Turista / The Tooth of Crime / Operation
Sidewinder
A
Memo on True West
Article : Orbison's
Mythic Levels of [True West] ; Mythic Levels in
Shepard's [True West] article ¿ä¾à ÅäÀÇ
³í¹® : Sam ShepardÀÇ Èñ°î¿¡ ³ªÅ¸³ª´Â À̹ÌÁöµéÀÌ
°®´Â ±ØÀû ±¸¼º»óÀÇ ±â´É
Sam ShepardÀÇ Angel City¿¡ Åõ¿µµÈ
¿µÈ»ê¾÷ÀÇ ÀÚ°¡´çÂø
ȯ»ó°ú Çö½ÇÀÇ Àüµµ(ï´Óî) : »ù ¼ÎÆÄµå
(Sam Shepard)ÀÇ Fool for Love
Sam Shepard --Geography
of a Horse Dreamer ÅäÀÇ
D. H. Lawrence (1885-1930) The
Rocking-Horse Winner¸¦ Àоî¿À¼¼¿ä.
Sam Shepard --Geography
of a Horse Dreamer ¿Í ºñ±³ÇÏ¿© ÅäÀÇÇսôÙ.
Albee, Edward --The Zoo Story Three Tall Women American Dream
Delicate Balance ÅäÀÇ
Three Tall Women Albee, Edward Three Tall Women ; American Dream
FEMINIST REREADINGS Part Four Edward Albee Âü°í
4¿ù 14ÀÏ(¸ñ)
Video
Show : Marsha Norman's ['night Mother] & [Getting Out]
Beth Henley's [Crimes of the Heart]
Martha Norman [Getting Out], ['night, Mother]
Beth Henley's [Crimes of the Heart], [The Debutante Ball]
['night
Mother] & [Crimes of the Heart] ÅäÀÇ
Martha Norman 'night, Mother ÅäÀÇ :
³í¹® :
Marsha NormanÀÇ ¿¬±Ø 'night Mother¿¡¼ÀÇ Å¬¶óÀ̸·½º ±×¸®°í »î°ú Á×À½ÀÇ
±³Â÷:
The Reversal of Mama's Death-In-Life and Daughter's
Life-In-Death
at the Climax of Marsha Norman's
Drama 'night Mother
<¼¿ïã¼Ø¡ÓÞùÊÎè ìÑÙþΡùÊæÚϼᶠ[ìÑÙþΡùÊ]
Á¦8Áý 2001³â 3¿ù>
Jenny S. Spencer Norman's 'night, Mother : Psycho-drama of Female Identity
Martha Norman Getting Out ÅäÀÇ
ÇÑÀμø Getting Out : °¨±Ý»óÅ¿¡¼ÀÇ Å»Ãâ
- 11° 2/8
(ț̢)
Article ¿ä¾à :
Patricia R.
Schroeder Locked Behind
the Proscenium :
Feminist Strategies in "Getting Out" and "My Sister in
This House"
Timothy Murray Patriarchal Panopticism, or The
Seduction of a Bad Joke : Getting Out in Theory
SCENES FROM BETH HENLEY'S [CRIMES OF THE HEART ]
ÇлýÆäÀÌÆÛ Æä¹Ì´Ï½ºÆ®ÀÇ ÀÔÀå¿¡¼ º» ¼¼ÀÚ¸ÅÀÇ ÀھƽÇÇö : Beth Henley's [Crimes of the Heart]
¿µ¹ÌÈñ°îÀÔ¹® 1996. 6 ¼¿ï½Ã¸³´ëÇб³ ¿µ¹®Çаú 99561015 ¿À°æ¼®
Çлý ÆäÀÌÆÛ ¹Ú¼Ò¿µ : Beth HenleyÀÇ Crimes of the Heart : Àνİú º¯È
Beth Henley The Debutante Ball ÅäÀÇ - 7°
2/6
Beth Henley : Her Major Works
Beth Henley : An Interview with Her
°¡ºÎÀåÀûÀΠƲ¾È¿¡¼ ÀϾ´Â ¿©¼ºÀÇ ÀÚ¾Æ ÀνÄ
: Beth HenleyÀÇ ¿¬±Ø
¼¼°è
ÀÌÀºÈñ (¼¿ï½Ã¸³´ë ¼®»ç°úÁ¤ ÆäÀÌÆÛ)
CASE #3 [°³ÀÎÀûÀÎ ¿¬±Ø] - 7° 4/6, 5/6
4¿ù 14ÀÏ(¸ñ) Video
Show : Marsha Norman's ['night Mother] &
Beth Henley's [Crimes of the Heart]
['night Mother] & [Crimes of the Heart] ÅäÀÇ
4¿ù 19ÀÏ(È) FEMINIST REREADINGS INTRODUCTION -- ¿ä¾à°ú ÅäÀÇ:
4¿ù 21ÀÏ(¸ñ) FEMINIST REREADINGS PART Two Arthur Miller -- ¿ä¾à°ú ÅäÀÇ:
4¿ù 26ÀÏ(È) Àå¸é ½Ç½À: [Striptease] ÅäÀÇ
Peter
Brook's [The Empty Space] Part One --¿ä¾à°ú ÅäÀÇ:
Arthur Kopit -- Indians Amiri Baraka -- The Dutchman
4¿ù 28ÀÏ(¸ñ) Peter Brook's [The Empty Space] Part Two --¿ä¾à°ú ÅäÀÇ:
5¿ù 03ÀÏ(È) Àå¸é ½Ç½À
Hwang,
David Henry M. Butterfly / FOB
Mamet, David
-- Oleanna / Duck Variation / Woods
5¿ù 05ÀÏ(¸ñ) ¾î¸°ÀÌ ³¯ °øÈÞÀÏ (OFF)
5¿ù 10ÀÏ(È) ¼¼¹Ì³ª Áغñ ¹× ÅäÀÇ
Durang, Christopher SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU ÅäÀÇ
5¿ù 12ÀÏ(¸ñ) Àå¸é
½Ç½À; Brook Chapter
Four --¿ä¾à°ú ÅäÀÇ:
¼¼¹Ì³ª
One (¿µ±¹Èñ°î) HAROLD PINTER
A Kind of Alaska / The Dumbwaiter
/ The Homecoming /
The Caretaker / The Birthday Party / No Man's Land / The
Betrayal
One for the Road / The Homecoming / Mountain Language /
Old Times / A
Memo on Harold Pinter's The Dumbwaiter
The Absurdity of Dread: Pinter's The Dumb Waiter
CHARLES A. CARPENTER
The Dumb Waiter :
Pinter's Play with the Audience
THOMAS F. VAN LAAN
The Dumb Waiter : Undermining the Tacit Dimension AUSTIN E. QUIGLEY
Çì·Ñµå ÇÉÅÍÀÇ [´ý ¿þÀÌÅÍ] ¸Þ¸ð Harold Pinter's The Dumb Waiter
´ý¿þÀÌÅÍ ±¹¹®´ëº» (ÀåÀº¼º ¹ø¿ª)
´ý¿þÀÌÅÍ ±¹¹®´ëº» (À±¿µ¼± ¹ø¿ª)
THE DUMB WAITER by Harold Pinter ¿µ¹®´ëº»
Çì·Ñµå ÇÉÅÍ í [´ý ¿þÀÌÅÍ] ·ù¿µ±Õ¹ø¿ª (Àå¸é ´ë»ç)
Çì·Ñµå ÇÉÅÍ í [´ý ¿þÀÌÅÍ] (Àå¸é ´ë»ç)
<REVIEW> Harold Pinter's The Caretaker
±èÅÂÇüÀÇ ¹ßÇ¥ :
Harold PinterÀÇ Mountain Language¿¡ ³ªÅ¸³
¾ð¾îÀÇ ±â´É
Çì·Ñµå ÇÉÅÍÀÇ [Homecoming] Âü°íÀÚ·á
Çì·Ñµå ÇÉÅÍÀÇ [´ý ¿þÀÌÅÍ] Âü°íÀÚ·á
THE DUMB WAITER by Harold Pinter ¿µ¹®´ëº»
THE DUMB WAITER by
Harold Pinter ±¹¹®´ëº» (¹ø¿ªÁß)
5¿ù 17(È)
¿¹ºñ½Ã°£ ¼¼¹Ì³ª Áغñ
FEMINIST REREADINGS Part Four Edward Albee -- ¿ä¾à°ú ÅäÀÇ:
5¿ù 19ÀÏ(¸ñ) ¼¼¹Ì³ª
Two (À¯·´Èñ°î) EUGENE IONESCO
Eugene Ionesco ÅäÀÇ -- Bald Soprano
The Lesson A Scene from Bald Soprano
Schechner,
Richard The Bald Soprano and The Lesson : An Inquiry into
Play Structure
5¿ù 24ÀÏ(È) ¿¹ºñ½Ã°£ ¿µÈÅäÀÇ : [Subverted
Vision of Reality]
Also
Read VISUAL PLEASURE AND NARRATIVE CINEMA LAURA MULVEY
5¿ù 26ÀÏ(¸ñ)
Brook [EMPTY SPACE] Chapter Three --¿ä¾à°ú ÅäÀÇ: ¹ßÇ¥ÀÚ : ±èÁ¤¹Ì, ¹Ú±â´ö, À±¼±Èñ
¼¼¹Ì³ª Three(¿µ±¹Èñ°î) TOM STOPPARD
Àå¸é ½Ç½À;
Tom Stoppard
Stoppard Artists Descending the Staircase / Rosencrantz and
Guildenstern Are Dead Âü°íÀÚ·á / Rosencrantz and
Guildenstern Are Dead ±¹¹®´ëº»/ The Real Thing / Jumpers/ Travesties / Squaring the Circles / Arcadia /
A Memo on Every Good
Boy Deserves Favour
Âü°íÀÚ·á : Robert Egan , A THIN BEAM OF LIGHT:
THE PURPOSE OF PLAYING IN
ROSENCRANTZ AND
GUILDENSTERN ARE DEAD (/TJ, March 1979 pp. 59-67)
5¿ù 24ÀÏ(È) ¿¹ºñ½Ã°£ ¿µÈÅäÀÇ : [Subverted Vision of Reality] Also Read Laura Mulvey & Gaylyn Studlar
Brook [EMPTY SPACE] Chapter Three --¿ä¾à°ú ÅäÀÇ:
5¿ù 26ÀÏ(¸ñ) ¼¼¹Ì³ª Three(¿µ±¹Èñ°î) TOM STOPPARD
Àå¸é ½Ç½À;
Tom Stoppard
Stoppard Artists Descending the Staircase / Rosencrantz and
Guildenstern Are Dead / The Real Thing / Jumpers/ Travesties / Squaring the Circles / Arcadia /
A Memo on Every Good
Boy Deserves Favour
Âü°íÀÚ·á : Robert Egan , A THIN BEAM OF LIGHT:
THE PURPOSE OF PLAYING IN
ROSENCRANTZ AND
GUILDENSTERN ARE DEAD (/TJ, March 1979 pp. 59-67)
5¿ù 31ÀÏ(È) Àå¸é ½Ç½À Áß°£¹ßÇ¥
Brook [EMPTY SPACE] Chapter Four --¿ä¾à°ú ÅäÀÇ:
6¿ù 02ÀÏ(¸ñ) ¿¹ºñ½Ã°£ FEMINIST REREADINGS PART Three Tennessee Williams -- ¿ä¾à°ú ÅäÀÇ:
6¿ù 07ÀÏ(È) Àå¸é ½Ç½À ¹ßÇ¥
6¿ù 09ÀÏ(¸ñ) ¼¼¹Ì³ª Four(¿µÈÆäÀÌÆÛ)
6¿ù 14ÀÏ(È) Àå¸é ½Ç½À ¹ßÇ¥
6¿ù 16ÀÏ(¸ñ) ¼¼¹Ì³ª Five(Çѱ¹Èñ°î#01)
Çѱ¹Èñ°î ÀÚ·á Modern KOREAN Drama
Àå¸é ½Ç½À ´Ü¸·±Ø ½Ç½À Àå¸é ¸ðÀ½
ÃÖÀÎÈÆ :[¿¾³¯ ¿¾Àû¿¡...] [º½ÀÌ ¿À¸é...] [Çѽº¿Í ±×·¹ÅÚ]
ÃÖÀÎÈÆ [When Spring
Comes to Hills and Dales][º½ÀÌ ¿À¸é »ê¿¡ µé¿¡]
[Shoo-oo shoo Once Upon A Time] [¿¾³¯¿¾Àû¿¡ È̾îÀÌ
ÈÌÀÌ]
[Hans & Gretel] [Çѽº¿Í ±×·¹ÅÚ]
¿Àż® [ÃʺÐ]-[ÃʺÐ] ÇØ¼³ [ÀÚÀü°Å] [ÀÚÀü°Å]¸Þ¸ð [·Î¶ó½ºÄÉÀÌÆ®¸¦ Ÿ´Â ¿À¶Ñ±â]
[õ³âÀÇ ¼öÀÎ] [¾ÆÇÁ¸®Ä«] [ºÎÀÚÀ¯Ä£] [À¯´Ù¿©, ´ßÀÌ ¿ï±âÀü¿¡]
[½ÉûÀ̰¡ ÀÓ´ç¼ö¿¡ µÎ ¹ø ¸öÀ» ´øÁø ±î´ßÀº]
[ÃádzÀÇ Ã³] [ÅÂ]
À̰¹é [°áÈ¥] ; À̰¹éÀÇ [°áÈ¥] ¿µ¹®´ëº» [The Marriage] [ÆÄ¼ý²Û]
6¿ù 21ÀÏ(È) Àå¸é ¹ßÇ¥
6¿ù 23ÀÏ(¸ñ) ¼¼¹Ì³ª Six (Çѱ¹Èñ°î#02)
À±´ë¼º [½ÅÈ 1900]-[½ÅÈ1900] ¸Þ¸ð [Ãâ¼¼±â] [³ëºñ¹®¼] [Ãâ¹ß]
ÀÌÀ±Åà [¿À±¸]
À̸¸Èñ [±×°ÍÀº ¸ñʱ¸¸Û ¼ÓÀÇ ÀÛÀº ¾îµÒÀ̾ú½À´Ï´Ù.] [ºÒ Á» ²¨ÁÖ¼¼¿ä] [¾Æ¸§´Ù¿î °Å¸®]
À̸¸Èñ [±×°ÍÀº ¸ñʱ¸¸Û¼ÓÀÇ ÀÛÀº ¾îµÒÀ̾ú½À´Ï´Ù.]
Á¶±¤È [³²ÀÚÃæµ¿] -- [³²ÀÚÃæµ¿] ¸Þ¸ð [»ç¶÷µéÀº »ý¼±°ú ¼Ò¹®À» Áñ±ä´Ù ]
À±´ë¼º [½ÅÈ 1900]
Çѱ¹¿¬±Ø ÅäÀÇ ¸Þ¸ð
ÀÌÇöÈ [ºÒ°¡ºÒ°¡] [0.917] [Ä«µ§Â¥]
ÀÌÇöÈ [ºÒ°¡ºÒ°¡] [Ä«µ§ÀÚ] [0.917]
ÀÌÇöÈÀÇ [Ä«µ§Â¥] [ºÒ°¡ºÒ°¡] [Ä«µ§Â¥] [0.917] [´©±¸¼¼¿ä] [¿À½ºÆ®¶óŰ½º¸ð½º] [½¬-½¬-½¬-ÀÕ]
[»ê¾Ä±è] [۸®¿¡
- À§´ëÇÑ À§Áõ] [¾È°³] [Ä«µ§ÀÚ
90] [ÈÞ°¡Æ¯¸í]
6¿ù 28ÀÏ(È) Àå¸é ¹ßÇ¥
FEMINIST REREADINGS PART Five Sam Shepard -- ¿ä¾à°ú ÅäÀÇ:
6¿ù 30ÀÏ(¸ñ) ¼¼¹Ì³ª Seven (¹Ì±¹Èñ°î#01) Sam Shepard
7¿ù 05ÀÏ(È) Àå¸é ¹ßÇ¥
7¿ù 07ÀÏ(¸ñ) ¼¼¹Ì³ª Eight (¹Ì±¹Èñ°î#02) Edward Albee
¿µ¹ÌÈñ°î
ÀÛ°¡º° ¸®½ºÆ®¿Í Âü°íÀÚ·á ¸µÅ©
·ù¿µ±ÕÀÇ µå¶ó¸¶ ÀÚ·á½Ç(ÀÛ°¡/ÁÖÁ¦/±¹°¡º°)
À̹ø ÇбâÁß¿¡ ´Ù·ê Èñ°îÀÛǰ
¹Ì±¹Èñ°î
Albee, Edward --The Zoo Story Three Tall Women
Kopit, Arthur -- Indians The Day the Whores Came Out to Play Tennis
Howie, Tina Painting Churches
Hwang, David Henry M. Butterfly / FOB
Mamet, David -- Oleanna / The Shawl / Prairie Du Chien / Redwood Curtain
Shepard,
Sam --True West / Geography of a Horse
Dreamer / Fool for Love /
A Lie of the
Mind / La Turista /
The Tooth of Crime / Operation Sidewinder
A
Memo on True West
Sam ShepardÀÇ Èñ°î¿¡ ³ªÅ¸³ª´Â À̹ÌÁöµéÀÌ
°®´Â ±ØÀû ±¸¼º»óÀÇ ±â´É
Sam ShepardÀÇ Angel City¿¡ Åõ¿µµÈ
¿µÈ»ê¾÷ÀÇ ÀÚ°¡´çÂø
ȯ»ó°ú Çö½ÇÀÇ Àüµµ(ï´Óî) : »ù ¼ÎÆÄµå
(Sam Shepard)ÀÇ Fool for Love
Rabe, David Streamers
Wilson,
Lanford -- Talley's Folly / 5th of July / Redwood Curtain /
Hot L
Baltimore / Lemon Sky
Wilson,
August --Piano / Ma Rainey's Black Bottom / Fences /
Joe Turner's
Come and Gone / Two Trains Running
¿µ±¹Èñ°î:
Beckett, Samuel Endgame / Waiting for Godot / Krapp's Last Tape
Stoppard, Tom Rosencrantz
and Guildenstern Are Dead / The Real Thing
Jumpers/
Travesties / Squaring the Circles /
Arcadia /
Artists
Descending the Staircase /
Robert Egan , A THIN BEAM
OF LIGHT: THE PURPOSE OF PLAYING
IN ROSENCRANTZ AND
GUILDENSTERN ARE DEAD (/TJ, March 1979 pp. 59-67)
Pinter,
Harold A Kind of Alaska / The Dumbwaiter
/ The Homecoming /
The Caretaker / The Birthday Party / No Man's Land / The
Betrayal
One for the Road / The Homecoming / Mountain Language /
Old Times /
Pinter's One-Act Play The Dumbwaiter (¿µ¹®´ëº»)
REFERENCES ON THE DUMBWAITER :
A
Memo on Harold Pinter's The Dumbwaiter
CARPENTER
CHARLES A. The Absurdity of
Dread: Pinter's The Dumb Waiter
QUIGLEY,
AUSTIN E. The
Dumb Waiter : Undermining the Tacit Dimension
Van
Laan, Thomas F. The Dumb Waiter : Pinter's Play with the Audience
Storey, David The Room
Shaeffer, Peter The Black Comedy /The Royal Hunt of the Sun / Equus
Pielmier, John Agnes of God
The Elephant Man
Churchill, Caryl Top Girls / Cloud Nine
Durang, Christopher SISTER MARY IGNATIUS EXPLAINS IT ALL FOR YOU
Bond, Edward Saved / The Ruling Class / The Woman / The Worlds
Barnes, Peter
Friel Brian Molly Sweeney
Wertenbaker, Timberlake Our Country's Good
±âŸ :
Ionesco, Eugene Lesson / Bald Soprano
A Scene from Bald Soprano
Schechner, Richard The Bald Soprano and The Lesson :
An Inquiry into Play Structure
·¯½Ã¾Æ/½î·Ã Èñ°î :
Schwarz, Eugene The Dragon, The Shadow
Vampilov, Alexsandr Last Summer in Chulimsk
Çѱ¹Èñ°î:
ÃÖÀÎÈÆ [º½ÀÌ ¿À¸é »ê¿¡ µé¿¡] [¿¾³¯ ¿¾Àû¿¡ È̾îÀÌ ÈÌÀÌ] [Çѽº¿Í ±×·¹ÅÚ]
ÀÌÇöÈÀÇ [Ä«µ§Â¥] [ºÒ°¡ºÒ°¡] [Ä«µ§Â¥] [0.917] [´©±¸¼¼¿ä]
[¿À½ºÆ®¶óŰ½º¸ð½º] [½¬-½¬-½¬-ÀÕ] [»ê¾Ä±è] [۸®¿¡
- À§´ëÇÑ À§Áõ] [¾È°³]
[Ä«µ§ÀÚ
90] [ÈÞ°¡Æ¯¸í]
À̰¹é [°áÈ¥]
À±´ë¼º [½ÅÈ 1900]
À̸¸Èñ [±×°ÍÀº ¸ñʱ¸¸Û¼ÓÀÇ ÀÛÀº ¾îµÒÀ̾ú½À´Ï´Ù.]
À̰¹éÀÇ [¿µ¿ùÇà Àϱâ]¿Í ¿Àż®ÀÇ [ÅÂ]
¿µÈ ÆäÀÌÆÛ Âü°í ¿µÈ ¼Ò°³ :
¡®¼º°ø
¿©¼º¡¯ÀÇ °í³ú, ³Ê¹«³ª ³¸¼±.... : What Women Want
[¿µÈ ¸®ºä] SF·Î º¸´Â ¹Ì·¡ '2001 ½ºÆäÀ̽º¿Àµ÷¼¼ÀÌ'
'žçÀº °¡µæÈ÷' ¸®¸ÞÀÌÅ© '¸®Çø®'
Drama
Films
One Flew Over the Cuckoo's Nest
(1975) / The Wild One (1953), /
Rebel Without a Cause (1955). Bad Day At Black Rock (1955) /The Defiant Ones (1958), / In the Heat of the Night (1967), /
On the Waterfront (1954). /
Taxi Driver (1976) /t
Courtroom
legal dramas:The Caine Mutiny (1954) / Inherit the Wind (1960), /
To Kill a Mockingbird (1962),
Political
dramas :
Mr. Smith Goes to Washington (1939). / All the King's Men (1949). / The Manchurian Candidate (1962)
Dramatic
films centered around the theme of journalism :Network (1976), The Lost Weekend (1945) /
The Grapes of Wrath (1940).
|
Assignments: |
|
¼ºÀûºñÀ² : Áß°£ ÆäÀÌÆÛ (30%), ±â¸» ÆäÀÌÆÛ(30%), ¿µÈ ¹ßÇ¥ #3 (20%), ¿ä¾à(10%), ½Ç½À(10%) |
°ÀÇÀÚ·á½ÇÀÇ Samples of Students Paper¸¦ Âü°íÇÒ °Í.
| ¿µ¹Ì¹®ÇкñÆò | ¿µÈ°ü·Ã ½ÎÀÌÆ® ¸µÅ© | ¿µ¹® 3 [Èñ°î II] | ·ù¿µ±ÕÀÇ Ä³³ª´ÙÀÚ·á½Ç |
Âü°íÀÚ·á
:
Geoffrey S. Holister Comment
In praise of modelling
Richard Dutton Part
One
¡¡Albee's Which
Theatre Is the Absurd One? ¿ä¾à¹ßÇ¥ °ßº»
Akira
Kurosawa Rashomon ´ëº»
·ù³ë½º²² ¾ÆÄí´Ù°¡¿ÍÀÇ ´ÜÆí ¼Ò¼³ In a Grove & Rashomon
Beckett's dramaticule
Come and Go ¿µ¹®´ëº»
Eugene
Webb on Beckett's Come and Go
Beckett's
Krapp's Last Tape ¿µ¹®´ëº»
Beckett : Samuel Beckett's Waiting for Godot
°ü±ØÆò
Samuel Beckett°¡ ¾´ µÎÆíÀÇ ¸¶ÀÓ±Ø:
Act Without Words I & Act Without Words II ¡¡
Eugene Webb, Two Mimes
: Act Without Words I
and Act Without Words II
1. °ÀÇÁß
ÅäÀÇ¿ë ºÎ±³Àç #1 :
Dutton, Richard
Modern Tragicomedy and the British
Tradition,
The Havard
University Press, 1986.
PART
I : Tragicomedy
PART
II : Waiting
for Godot
by Samuel Beckett
PART
III : Individual Articles
IN
CONCLUSION
2. °ÀÇÁß ÅäÀÇ¿ë
ºÎ±³Àç #
2
:
Peter BrookîÊ The Empty Space
Á¦ 1Àå
Ä¡¸íÀû
Á×Àº ¿¬±Ø
Á¦ 2Àå
¼º½º·¯¿î
Á¦ÀÇ ¿¬±Ø
Á¦ 3Àå °ÅÄ£ ´ëÁß ¿¬±Ø
Á¦ 4Àå ÁïÈïÀû/Á÷Á¢Àû ¿¬±Ø
´Ü¸·±Ø ½Ç½À Àå¸é ¸ðÀ½
´Ü¸·±Ø ½Ç½À Àå¸é ¹ßÇ¥ ÀÏÁ¤
À̹ø Çб⿡ ÀÐÀ» ÀÛǰµé :
Samuel Beckett Waiting
for Godot
Samuel Beckett Endgame
& Krapp's
Last Tape
Stoppard Squaring the Circles
Shepard Fool for Love ; A Lie of Mind
Pinter A Kind of Alaska ; One for the Road ; Mountain Language
Albee Three Tall Women
Shaeffer The Black Comedy The Royal Hunt of the Sun
Greek Drama :
SophoclesÀÇ Antigone
EuripidesÀÇ Media
Medieval Drama :
The Second Shepard's Play
Korean Drama :
ÃÖÀÎÈÆ [When Spring
Comes to Hills and Dales][º½ÀÌ ¿À¸é »ê¿¡ µé¿¡]
[Shoo-oo shoo Once Upon A Time] [¿¾³¯¿¾Àû¿¡ È̾îÀÌ
ÈÌÀÌ]
[Hans & Gretel] [Çѽº¿Í ±×·¹ÅÚ]
À̰¹é [°áÈ¥] ; À̰¹éÀÇ [°áÈ¥] ¿µ¹®´ëº» [The
Marriage]
ÀÌÇöÈ [ºÒ°¡ºÒ°¡] [Ä«µ§ÀÚ] [0.917]
À±´ë¼º [½ÅÈ 1900]
À̸¸Èñ [±×°ÍÀº ¸ñʱ¸¸Û¼ÓÀÇ
ÀÛÀº ¾îµÒÀ̾ú½À´Ï´Ù.]
Russian Drama :
Victor Rozov
Alexandr Vampilov
Anton
Chekhov : The
Three Sisters
¼ö°Çлý ¸í´Ü ¹× ¿ä¾à ÅäÀÇ »çȸÀÚ :
Dutton Part One --¿Àº´ÀÏ;
Part Two --À¯Çý¹Î; Dutton
Part Three --¼ÛÈ«±Ô
Empty Space Chapter One --À±¸íÈñ; Chapter Two --ÀÌ¿ø½Ä
Chapter Three --À̽¾Ö;
Chapter Four--±èÇüÅÂ
¼¼¹Ì³ª ¹ßÇ¥ ¿¹Á¤ ÀÛǰ:
À̽¾Ö:Pinter A Kind of Alaska ; ÀÌÇöÈÀÇ [Ä«µ§Â¥]
¼ÛÈ«±Ô:Pinter,
One for the Road ; À̰¹é [°áÈ¥]
ÀÌ¿ø½Ä:Stoppard Artists Descending the Staircase ; Chekhov's The Three Sisters
¿Àº´ÀÏ:Shaffer Black
comedy ; Vampilov's Last Summer in Chulimsk
À±¸íÈñ:Shepard Fool for love ; À̸¸Èñ [±×°ÍÀº ¸ñʱ¸¸Û¼ÓÀÇ
ÀÛÀº ¾îµÒÀ̾ú½À´Ï´Ù.]
À¯Çý¹Î:Albee's Three
Tall Women À̰¹éÀÇ
[¿µ¿ùÇà Àϱâ]¿Í ¿Àż®ÀÇ [ÅÂ]
Waiting for Godot °ø¿¬°ü¶÷ ´ëº» ÀÐÀ»
°Í
Samuel Beckett°¡ ¾´ µÎÆíÀÇ ¸¶À ÅäÀÇ:
Act Without
Words I & Act Without
Words II ¡¡¡¡
Eugene Webb,
Two Mimes : Act Without
Words I and Act Without
Words II Àаí Âü°íÇÒ °Í.
Àå¸é ½Ç½À Waiting for Godot: EndGame & Krapp's Last Tape
Beckett's dramaticule Come
and Go
Àå¸é ½Ç½À Beckett's dramaticule Come and Go