초록 열기/닫기 버튼
Korean theatre, which has produced more than 400 Shakespearean works during the last two decades, has been continuously trying to Koreanize Shakespeare in various ways. One of the most notable approaches of Koreanization mixes gut (Korean shamanic ritual) with Shakespeare. Applying gut to Shakespeare carries more meaning than Koreanizing Shakespeare externally because it steps beyond employing such traditional Korean theatre forms as ‘talchum’ (mask dance), ‘kkokdugaksi noreum’ (puppet theatre), ‘madangnori’ (yard play) to constitute cultural, philosophical, and religious codes in connection with shamanism. Gut also creates a specific theatrical style. There are two ways to incorporate gut into Shakespeare. One is to bring Shakespeare into gut, and the other is to bring gut into Shakespeare. The former performs gut as it already exits in a Shakespeare play, and the latter performs gut figuratively by fusing it into a Shakespeare play. Recently, two Shakespearean productions seem to typify these two trends: Yang Jung-ung’s Hamlet for the former and Oh Tae-suk’s The Tempest for the latter. Even though their approaches for gut are quite different, they have common points in using gut throughout the play and realizing the meanings and the functions of gut on the stage. Through a dramaturgical analysis of these two productions with focus on gut, this article examines the significance and role, and the possibilities of gut in Koreanizing Shakespeare.
키워드열기/닫기 버튼
Shakespeare, Gut (Korean shamanic ritual), Oh Tae-suk, Yang Jung-ung, The Tempest, Hamlet, Koreanization, shaman, Jinogigut, Sumanggut, Sanjinogigut, twelve gods of horary signs, gut theatre
