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Jill Dolan broke new ground in extending the feminist analysis of representation to the theater, offering a provocative critical study that challenges our assumptions about the structure of representation. In a similar vein this study extends the gay/queer analysis of representation to representative American gay drama—Terrence McNally’s Lips Together, Teeth Apart, Tony Kushner's Angels in America, and Doug Wright's I Am My Own Wife. In doing so this study defines gay/queer drama analysing the i

Bakhtin’s carnivalesque thesis is contradictory as it argued that drama cannot be carnivalesque while admitting its elements in Feast of Fools, commedia dell’arte, and Shakespeare. Bakhtin’s argument that the public spirit of the carnival metamorphosed only into a novel and that “drama does not allow for the dialogic interpenetration of one language by another” is contradictory as well. Bakhtin did not recognize the unique British pantomime tradition that elaborated commedia dell’arte and thus e

Though J. M. Barrie’s Peter Pan has been considered a conventional regulardrama, some scholars have recently argued it is an example of traditionalBritish pantomime, or a variation thereof. However its genre classification isbecoming more complicated, as these arguments have used different sourcematerials in support of their theses; some refer to Barrie’s 1904 manuscript,some the 1905 London premiere, while others cite the printed edition of 1928. The aims of this project are twofold: to establi

Tracy Letts’s 2007 play, August: Osage County belongs to in-yer-face theatre which shocks audiences by the extremism of its language and images. Though Letts’s former plays, especially Killler Joe and The Bug had soundly fell into in-yer-face theatre as well, this British movement had not been fully appreciated in America when Letts’s August: Osage County surprisingly became the recipients of the 2008 Pulitzer Prize for Drama, 2008 Drama Desk Award for Best New Play, 2008 Drama Desk Award, etc.

This article focuses on three tasks to look into Garrick’s strategy toward Drury Lane’s playbill. First, Drury Lane’s playbill of 21 Jan. 1756 proves that the double bill was very conceptual. Garrick combined his adaptation of Winter’s Tale, Florizel and Perdita as a main piece and Catharine and Petruchio, his adaptation of The Taming of the Shrew as an afterpiece. Garrick strengthened his patriarchal ideology with both pieces, upholding middle class mercantile values at the same time. Second, G

Bruce Norris’s Clybourne Park (2010), the first American drama to win the triumvirate of an Olivier (2010), a Pulitzer (2011) and a Tony (2012), functions both as a prequel and sequel of Lorraine Hansberry’s A Raisin in the Sun (1959). Act One of the play begins in 1959, in the midst of the age of Jim Crow, as a white couple sell their home in Clybourne Park to the Youngers, who are depicted in A Raisin in the Sun. The couple receive a visit from Karl, another character in Hansberry’s work, info

Jun, JoontaekFor the past decade, Martin McDonagh has been noted for his examination of fragments of a stultified Irish rural society and his stylistic indebtedness to Hollywood thrillers. For this reason literary critics have failed to locate his plays within a single dramatic tradition and theatre critics have simply read his plays as "Synge Meets Tarantino." Furthermore, the contradictions between his Irish origins and his rootedness in London have led critics to shape their responses in term

In J. M. Barrie’s lifetime, the ongoing process of stage adaptations of Peter Pan was one of smoothing its rough edges, so that its problematic parts washed out of the narrative. In becoming a familiar and beloved story for children as well, its radical quality and the extraordinary originality that confronted the first audience of adults was finally lost. However, this conclusion does not take the censorship that Barrie fought against all through his life into consideration. Generally, the vers

전 준 택지난 세기말 레오나르도 디카프리오 주연으로 화제가 되었던 바즈 루어만 감독의 『윌리암 셰익스피어의 로미오+쥴리엣』 (1996)은 펑크 담론을 차용함과 동시에 플롯과 등장인물에 있어서는 셰익스피어 영화사에서 독보적이었던 프랑코 제피렐리 감독의 『로미오와 쥴리엣』(1968)을 상호텍스트로 하였다. 그 결과, 제피렐리의 영상 상당 부분이 펑크화되어, 제피렐리의 머큐쇼에서는 로미오와의 동성애가 암시의 수준을 넘지 않았던 반면 루어만의 영상에서는 기이한 흑인 여장의 머큐쇼가 소개되었다. 그 결과 머큐쇼가 셰익스피어의 자화상이라 분석했던 제피렐리 감독의 영상이 루어만 영상의 상호텍스트가 되면서 마침내 검고 기이한 셰익스피어의 자화상이 젊은이의 우상, 디카프리오의 연인이었다는 기이한 메시지가 주류 영상에 등장하기에 이른 것이다. 본고의 목적은 두 가지 기능을 동시에 수행한다. 펑크 셰익스피어를 감독한 영국의 데렉 자만의 셰익스피어 영상 『템페스트』(1979)와 『엔젤릭 컨버세이션』 (1

In J. M. Barrie’s final, published version of Peter Pan (1928), the characterization of Hook is vague because of the censorship of plays at that time. Thus, a dramaturgic reading of Hook based on pantomime is mandatory with a survey of the novel, Peter and Wendy (1911), a silent film scenario (1921), and “Captain Hook at Eton” speech (1927). This process evolved the characterization of Hook, washing out its comic part of the original manuscript. Hook became a graduate of Eton and Barrie finally

Barrie’s Lord Chamberlain’s Copy of Peter Pan must have been rejected because of its subversive harlequinade proved by the abrupt stage direction of British premiere, “Eliza enters from L. with Harlequin Wand.” Barrie finally decided to remove the harlequinade and moved its function to the entire play. This strategy was suggested first in his subsequent one act play, Pantaloon, a kind of an obituary for the harlequinade characters of pantomime. Thus Pantaloon became a turning point of future Pet