연극성과 광대극 - 삶의 창조를 위한 형식

Abstract

Mythopoetic symbolists attempted to conciliate the world's polarity and to unify art and life. They put up their mythopoesie into life to carry out messianic role of saving the world and art from disunion - failed though. This was interpreted comically as well as tragically: they could not complete nor reach to the holy mission not only because they possessed no inherent truth, value and meaning but because the 'ideal ' world came toward the nothingness. Mythopoets wanted to be incarnated in harmony and union but merely found themselves to be Harlequin(Pierrot) playing with doubles. They conceived Harlequin, balagan and theatricality as negative conceptions revealing their miserable life was art itself and the product of self-doubt. Even though the ideal world is devalued and the earthly world(byt) is grotesquely overseated, it was a tragedy for Blok. Belyj also had an ironic tendency to view human beings as ridiculed masks cast into fate and chaos' masquerade. For Evreinov, however, theatricality is not the product of self-doubt, rather it makes 'self' be self. Theatricality means the power over nature and fate - the ability to tum strange and hostile life into one' s own and the possibility to create more attractive new life by changing the given semiotic relations into the theatrical. In this mood, theatre becomes a model of life and Harlequin a teacher of life. Life should be theatricalized and men, as actors playing roles, should stage life: this is what Revolution's theatre and revolutionary public spectacle are based on.