초록 열기/닫기 버튼
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This paper explores how Samuel Beckett and Sam Shepard organize the absurd and surrealistic diachronic stage with repetition, metonymy, rearrangement, subversion, silence, monologue, and word games. Endgame and True West show the strategic danger of the signifying chain of structural linguistics that replaces the original with the copy through the symmetric meaning fixation of signifier. The main characters, similar to a grey shadow of two recycling meta-theatrical structures, need to realize that linguistic discourse of the postcapitalistic society can be an inauthentic fake manipulated by the politicality and madness of the reason and power in religion and politics. Hamm and Clov, Lee and Austin just repeat such identical and simple routine movements with short and meaningless signs throughout all the dreamlike scenes. Although these trifle actions and messages seem to be illogical and absurd, they may be desperate and deranged word games to survive in the unavoidable chaos which lives bring to us.
키워드열기/닫기 버튼
identification, self-object relation, diachronic, rearrangement, displacement
