지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
In the first part of this paper I have described the theatrical situation of the historical French Revolution in the 18th century. (“Revolution Theater”, “Blood Stage”) And then in the second part I analyzed the Visualization-processes of this theatricality reflected in Georg Büchners first drama Danton"s Tod especially in terms of ideology-critical point of view.
In this drama the meaning and metaphor of the theatricality is referred to negatively as a fake reality. Through “the institutionalized Terror of the guillotine” the Jacobin revolutionary leaders want to degrade the spontaneously revolting people to a mere spectator of the Revolution Theater and try to emasculate the democratic people"s movement.
The people often act like a ridiculous puppet for the dictatorial revolutionary government. The people dance and sing bloodthirstily at the place of execution, which has been provided as a Blood Stage from the government.
Robespierre dares to legitimize his reign of terror and to stylize the revolution as “a sublime drama”. He believes undoubtedly that the theater of the guillotine is to purify the audience virtuous by lethal catharsis. But the bloody mechanization of death did not pay a sublime effect. The court drama of cleaning up the Dantonists, which is staged by the party of Robespierre with cunning and malice is so ultimately unmasked as a fraud farcical spectacle for the whole nation.
In this drama the meaning and metaphor of the theatricality is referred to negatively as a fake reality. Through “the institutionalized Terror of the guillotine” the Jacobin revolutionary leaders want to degrade the spontaneously revolting people to a mere spectator of the Revolution Theater and try to emasculate the democratic people"s movement.
The people often act like a ridiculous puppet for the dictatorial revolutionary government. The people dance and sing bloodthirstily at the place of execution, which has been provided as a Blood Stage from the government.
Robespierre dares to legitimize his reign of terror and to stylize the revolution as “a sublime drama”. He believes undoubtedly that the theater of the guillotine is to purify the audience virtuous by lethal catharsis. But the bloody mechanization of death did not pay a sublime effect. The court drama of cleaning up the Dantonists, which is staged by the party of Robespierre with cunning and malice is so ultimately unmasked as a fraud farcical spectacle for the whole nation.
목차
I. 들어가는 말
II. 프랑스 혁명 당시의 연극적 상황
III. 뷔히너가 형상화 한 프랑스 혁명의 연극성 비판
IV. 나가는 말
참고문헌
ABSTRACT
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UCI(KEPA) : I410-ECN-0101-2016-001-002360727