S-Space College of Humanities (인문대학) Center for East Asian Studies (동아문화연구소) Journal of S.N.U. Institute for Asian Studies (동아문화) 동아문화 Volume 50 (2012)
드라마의 소통형식과 관객의 존재론
Communication Form of Drama and Ontology of Audience
|dc.identifier.citation||동아문화, Vol.50, pp. 47-73||-|
|dc.description.abstract||왜 오늘날 문학이 읽히지 않는가. 왜 전통적인 연극이 쇠퇴하고 뮤지컬이 인기인가. 왜 영화와 텔레비전 드라마와 같은 기술적 형상의 이미지들이 예술의 지위를 획득하고 주도적인 장르로 기능하는가. 그럴 때 과연 드라마란 다시 무엇인가. 이 글은 이러한 소박한 물음들에 대한 답변을 위한 모색 과정의 일부이다. 이러한 물음에 답하기 전에 그렇다면 과연 문학/드라마는 서로 다른 장르여야만 하는가, 그리고 이때 우리가 일상적으로 말하는 ‘드라마’라는 용어는 과연 타당한가 등의 문제에 대하여 먼저 생각해 볼 필요가 있다. 잘 아는 것처럼 아리스토텔레스는 그의 저서 『시학』에서 비극을 ‘완결되고 일정한 크기를 가진 전체적인 행동의 모방’(시학 7장)이라고 규정한 바 있다. 하지만 ‘드라마’에 대해서는 분명한 언급이 없다.
In this article, media characteristics of drama and ontology of audience related to them were reviewed focusing on the characteristics of performance(screening) not as literary behaviors based on texts but as a communication form. From the perspective that regulates image or imagination narrowly according to traditional letter-centered literary concept, literature and drama has been conspicuously distinguished and the aesthetic value of visual images such as movies and television has been relatively underestimated. However, in modern times, such visual images called as technological figures are targets of our perception and our cognition is influenced by these images. Therefore, meaning of such visual images cannot be understood completely with traditional literary or drama theory. It was tried to identify the communication structure of drama and existence method of audience, which is different from literature, starting from the critical perception on such problems and based on cognitive semantics, phenomenological media theory and Sartre’s imagination theory. According to such point of view of this article, a play and a movie have commonality in that they communicate with the world in the space of theater but they are different in the method how audience perceive them and how they transmit information. There is a difference between a movie and a television which belong to the same technological type in the perceptual space such as cinema and home and they are different in the characteristics of relationship that the world of percepts makes with the world of existence of audience. Additionally, according to the phenomenological characteristics of a movie, a play and a television, the existence level of audience becomes dominant on the target of perception in the order of movie, television and play. This discourse is new approach to find answers to questions why pure literature subsides and popular literature dominates, and why movies and television occupy the core of public culture. This article can be seen as a trial to search for a cognitive solution on why these popular genres give interest to readers(audience). In this article, special attention was paid to the communication form between world of percepts and world of existence starting from cognitive interactions between subjects and objects of perception. Further studies should be focused on how to solve many problems raised in the preface through concrete texts of these communication forms.
|dc.publisher||서울대학교 인문대학 동아문화연구소||-|
|dc.title||드라마의 소통형식과 관객의 존재론||-|
|dc.title.alternative||Communication Form of Drama and Ontology of Audience||-|
- Appears in Collections:
- College of Humanities (인문대학)Center for East Asian Studies (동아문화연구소)Journal of S.N.U. Institute for Asian Studies (동아문화)동아문화 Volume 50 (2012)