초록 열기/닫기 버튼
브레히트가 프랑스 연극계의 관심 안에 자리 잡게 된 배경을 살펴본다면, 첫째 브레히트 연극에서 나타나는 혁신성이다. 그의 연극이 학습극, 서사극, 변증법적 연극 등 방대한 영역을 다루고 있지만, 프랑스 연극인들이 가장 관심을 가진 것은 예술성과 정치성 간의 공존을 모색했다는 점이다. 특히 19세기 후반 이후 수많은 연출가들이 민중극의 정착과 부활을 꿈꾸었지만, 변두리 무대를 벗어나기는 쉽지 않았다. 이런 상황 하에 베를리너 앙상블의 순회공연은 하나의 해법을 제공한 것이다. 둘째, 프랑스 연극계의 노력도 간과할 수 없는데, 잡지 <민중극>이 베를리너 앙상블의 순회공연 직후 다수의 브레히트 관련 글을 실었던 데 있다. 브레히트 작품 및 연극세계, 공연에서 나타나는 특징, 서사극 관련 이론서 등을 출간하는데, 이때 롤랑 바르트, 베르나르 도르트 등 진보적 성향의 연극인이 주도적 역할을 했다. 셋째, 잡지 <민중극>의 브레히트 소개에 발맞추어 라르슈 출판사가 브레히트 시, 소설, 전집 및 이론서를 출간한 점이다. 1955-70년 동안 40여 편의 작품 및 <달력 이야기>, <망명자의 대화>, <메티, 변혁의 서>, <정치와 사회론>, <리얼리즘에 관하여>, <예술과 혁명> 등 다수의 산문집, 이론서를 번역하여 브레히트에 대한 이해도를 높였다. 넷째, 라르슈 출판사의 설립자인 로베르 브와쟁이 브레히트 전집 번역권과 공연권을 동시에 가지고 있었는데 그가 공연허가에 있어 신중을 기한 점이다. 그는 브레히트 작품이 왜곡되거나 훼손되는 것을 방지하기 위해 경험 많은 연출가에게 우선권을 주었다. 장 빌라르, 로제 플랑숑, 앙드레 스테제, 조르주 윌슨, 자크 로스네 등이 여러 편의 작품을 연출한 것이 이를 말해주고 있다.
Arthur Adamov, Jean Vilar, Roger Planchon, Benno Bensson and Ariane Mnouchkine, they all are theatrical people that represent the French theatre in the late 20th century. They took the lead on innovation of the French theatre through variety of creative works in the field of playwriting, directing, theory of acting, etc. There seems to be no similarities among them because they had been active in their respective ways of producing creative works along with individual interest however, interestingly enough, they all developed their own artistic abilities under the influence of Brecht. During the 1940s, the French theatre was mainly concentrated on play focused on text, rejecting realism and commercialization because it was influenced by Jacques Copeau. In 1954, the Berliner Ensemble showed Mother Courage and Her Children by Brecht on stage at Paris. The French theatre was shocked and fascinated by the unfamiliar play by a German playwright that the theatre had never encountered before. The theatre discovered that the play interferes with the audience’s flow of attention and attracts rational reflection caused by several points such as explanation of scene using sign, continuous intervention of song and narrator, rejecting development of empathy by audiences, and removing the fourth wall between actors on stage and the audience. The play was performed four times in the 1950s and this helped Brecht to earn a reputation in the world. The work of Brecht gained recognition in France through these shows and it had a great impact on the French theatre practitioners along with the unfamiliar terms from his play such as epic theatre, alienation effect and anti-illusionistic drama. Especially after the late 1950s, there was a Brecht craze and many of his works were performed. He became one of the famous playwrights who had many of his works shown at theater following those from Molière and Shakespeare. This craze happened not only because of a refreshing jolt that the play of Brecht brought, but because of the great effort into this play made by the French theatre. The magazine, Théâtre Populaire took the lead in introducing the play of Brecht and L'Arche, a publisher had continuously printed a book of poems, novel, complete dramatic works of Brecht and theoretical book. Furthermore, the craze continued after the death of Brecht and even influenced the 1960s, a time period that social unrest of people from all walks of life erupted. The influence by Brecht for this time period can be identified into two main streams. Jean Vilar and Roger Planchon promoted the popularization of play. Armand Gatti and Ariane Mnouchkine searched for a space other than a stage as they actively intervened into social issues. Their respective characteristics are a bit different, however they all were affected by Brecht’s theatre and developed his influence into plays in their own way.
키워드열기/닫기 버튼
Brecht, Berliner Ensemble, France, Theatre, Reception
