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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2001.3
- 수록면
- 31 - 63 (33page)
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Antony and Cleopatra is a potential "problem play" which presents a "theatrical representation" of power, desire, identity and the aspiration of an empire. This paper examines the protagonists in terms of the various roles each person plays in society and the relationship each person has with the world. In addition, the paper looks into the play's suggestions about the world as theater.
In Act 4, scene 14, Antony compares himself to clouds, in that the clouds constantly change shape or to "water in water", in that it makes itself indistinct. He says "here I am Antony) Yet cannot hold this visible shape."(4.14.13) From the beginning of the play, Antony recognizes himself to be without an absolute and fixed identity, and he also know this to be true of the world as a whole. In Act I, scene I, this soldier-ruler proclaims that "kingdoms are clay."
The paper cites several passages from the play in which comic elements are incorporated into the most serious or tragic moments. These intrusions are evidence of the disintegration of a unified and constantly consistent genre. Indeed, the play can be said to refuse to confine itself to one genre: it is tragedy, comedy, history, and romance all at once. As it moves from tragedy to romance, the play is "a generic oxymoron"and perhaps Shakespeare's most daring and original experiment.
Antony and Cleopatra meet on the enlarged canvas in which Rome is represented by honor, duty and reason, while Egypt is represented by pleasure, imagination and art. Each of the lovers is aware of the fact that he or she is not behaving in accordance with his or her own nature, but playing roles. as an actor and an actress, who is aware of the flux rather than the true identity of their identities through the roles they are playing.
The play explores the relevance of ego to the play, both the power and the limitations of the dramatic depictions of role-playing, and the relationship between theatre and the world. The wound Antony inflicts on himself in his bungled suicide attempt represents his worst moment acting out his assigned roles. In her last monologue, when Cleopatra speaks of herself as "water" and "air", she reminds us of her changeable identity.
Cleopatra pictures "some squeaking Cleopatra boy" as presenting "her greatness in the posture of a whore" to the ignorant Roman "mechanic slaves with greasy aprons, rules and hammers." This image also applies to Cleopatra's presentation to the audience in the public theatre as the play was given for Shakespeare's contemporaries, and it applies as well to Cleopatra's arrival in Rome when she was given as a slave to the victorious Caesar. Through the character of Cleopatra, the play combines the motifs of femininity and theatricality, both of which Shakespeare understood to be multiple and changeable in nature.
By showing us the characters as actors playing roles, each aware of a lack of fixed, separate and individual identity, the play suggests the possibility of connecting with and experiencing the full presence of the universe.
In Act 4, scene 14, Antony compares himself to clouds, in that the clouds constantly change shape or to "water in water", in that it makes itself indistinct. He says "here I am Antony) Yet cannot hold this visible shape."(4.14.13) From the beginning of the play, Antony recognizes himself to be without an absolute and fixed identity, and he also know this to be true of the world as a whole. In Act I, scene I, this soldier-ruler proclaims that "kingdoms are clay."
The paper cites several passages from the play in which comic elements are incorporated into the most serious or tragic moments. These intrusions are evidence of the disintegration of a unified and constantly consistent genre. Indeed, the play can be said to refuse to confine itself to one genre: it is tragedy, comedy, history, and romance all at once. As it moves from tragedy to romance, the play is "a generic oxymoron"and perhaps Shakespeare's most daring and original experiment.
Antony and Cleopatra meet on the enlarged canvas in which Rome is represented by honor, duty and reason, while Egypt is represented by pleasure, imagination and art. Each of the lovers is aware of the fact that he or she is not behaving in accordance with his or her own nature, but playing roles. as an actor and an actress, who is aware of the flux rather than the true identity of their identities through the roles they are playing.
The play explores the relevance of ego to the play, both the power and the limitations of the dramatic depictions of role-playing, and the relationship between theatre and the world. The wound Antony inflicts on himself in his bungled suicide attempt represents his worst moment acting out his assigned roles. In her last monologue, when Cleopatra speaks of herself as "water" and "air", she reminds us of her changeable identity.
Cleopatra pictures "some squeaking Cleopatra boy" as presenting "her greatness in the posture of a whore" to the ignorant Roman "mechanic slaves with greasy aprons, rules and hammers." This image also applies to Cleopatra's presentation to the audience in the public theatre as the play was given for Shakespeare's contemporaries, and it applies as well to Cleopatra's arrival in Rome when she was given as a slave to the victorious Caesar. Through the character of Cleopatra, the play combines the motifs of femininity and theatricality, both of which Shakespeare understood to be multiple and changeable in nature.
By showing us the characters as actors playing roles, each aware of a lack of fixed, separate and individual identity, the play suggests the possibility of connecting with and experiencing the full presence of the universe.
목차
Ⅰ. ‘heavenly mingle‘
Ⅱ. playing and game playing
Ⅲ. ‘Some squeaking Cleopatra boy‘(대중극장 속의 배우)
Ⅳ. Theatre and World
인용문헌
Abstract
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