원문정보
초록
영어
Henry Carr is introduced as the man who "dresses in a most elegant way and is especially interested in the cut of his trousers, [and] he has the figure for it." Actually he is a dandy and has a trouser-centered viewpoint. By only the trousers which at the moment he wore, he remembers the grave events in his life like as the outbreak of the World War, his participation in the war, and even the injury to his leg. And he judges others by how they put on their trousers. The motive that he accepts the role of Algy is also related to his costume. The court struggle between Carr and Joyce starts from Carr's resentment with Joyce's unthankfulness for Carr's contribution to the success of the play with his proper costume including the trousers Carr's unfinished memoir becomes a kind of story about "trousers". The title of Travesties seems to be derived from the very fact the hero attaches great importance to trousers. For he can be called by the name of "en travesty" in French. "a trousers role" in English, the term which originally points a woman singer taking part in man's role in man's clothing in a comic opera, and the play that the disguised character enters is called a "travesty." Travesties which has plural suffix is a parody of several works of different writers, and becomes an exquisite complex of several parodies. Its frame and characters are borrowed from Wilde's the Importance of Being Earnest, but its materials and methods from Joyce's Ulysses and his limerick poems, and Dadaist nonsense poems, a popular song, cabaret shows, and magician performances. Stoppard's Joyce, Lenin, and Tzara all are travestied characters, made to represent main art theories respectively. By the device of mistaken memory of Henry Carr Stoppard can provide the confrontation place for Art-for-art's sake, Marxism, and Dadaism. Stoppard doesn't pronounce who is the victor, but the play brings an impression that he takes Joyce's side. It's because his Joyce, like a magician, shows a live rabbit taken from a hat, and in a dream of Henry Carr still firmly answers Carr's reproach and irritates his nerves.
목차
II. 헨리 카아와 바지
III.『트래비스티즈』의 패러디 기법
IV. 예술론의 대결을 위한 희화화
인용문헌
Abstract