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영국의 극작계는 20세기 후반기에 접어들면서 정치극이라는 새로운 장르의 출현을 맞게 되었다. 제 2차 세계대전에서 돌아온 젊은 극작가들은 의사소통의 단절, 고립과 소외 등으로 인해 인간의 존재가치가 상실되고 있음을 발견하게 되었고, 이 같은 병리적 사회현상은 극작가들로 하여금 사회, 정치적 관심을 증폭시켰다. 이러한 상황에서 여러 가지 지적운동이 일어나고 그로 말미암아 새로운 요소들이 극에 도입되어 수정된 사실주의, 뮤지컬, 부조리 등 다양한 양상의 극이 활발하게 전개되었다.
이러한 영국 극계의 흐름에 발맞추어 1970년대에 극작가 처칠(Caryl Churchill, 1938- )은 연극에서 사실적인 극적 전통에서 벗어나 보다 새로운 기법을 모색하려는 움직임을 보인다. 그리고 처칠을 선두로 한 당대의 페미니스트들은 우선 전통적인 여성 억압이 본질적으로 가부장제의 성 이데올로기로 말미암아 초래되었다는 사실에 주목하고 그 해체적 전략에 주력하게 되었다. 따라서 남성중심의 가치관에서 탈피하여 여성의 삶과 경험을 주로 다루는 페미니스트 연극이 이러한 주장을 적절히 표현하는 예술 매체로 각광을 받기 시작했다.
남녀 불…(생략)
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Routledge, 1995.
Brown, Janet.“Caryl Churchill`s Top Girls Catches the Next Wave.”Caryl Churchill: A Casebook. Ed. Phyllis R. Bandall. New York: Gaeland, 1988, 117-30.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. London: Routledge, 1990.
Cameron, Debora, ed. The Feminist Critique of Language: a Reader. London and New York: Routledge, 1990.
Case, Sue-Ellen. Feminism and Theatre. Basingstoke: Macmillan, 1988.
______, ed. Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins UP, 1990.
Churchill, Caryl. Plays: Two. London: Methuen, 1990.
Cima, Gay Gilson. Performing Women. Ithaca and London: Cornell UP, 1993.
Despenich, Susan Carol. Tracing The Development of A Dramatist: a Reading of Caryl Churchill`s Stage
Plays. Ann Arbour: UM1, 1990.
Fitzsimmons, Linda, ed. File on Churchill. London: Methuen, 1989.
Innes, Christopher. Modern British Drama. 1890-1990. Cambridge UP, 1992.
Keyssar, Helene. Feminist Theatre. New York: Grove Press, 1985; update of above article on Churchill, 77-101.
______, ed. Feminist Theatre and Theory. London: Macmillan, 1996.
Kritzer, Amelia Howe. The Plays of Caryl Churchill: Theatre of Empowerment. New York: St. Martin, 1991.
Marohl, Joseph. `De-realised Women: Performance and Identity in Top Girls.` Modern Drama 30 (September 1987): 376-88.
Merrill, Lisa. `Monsters and Heroines: Caryl Churchill`s Women.` Caryl Churchill: A Casebook. Ed. Phyllis R. Randall. New York & London: Garland, 1989, 71-89.
Reinelt, Janelle. `Beyond Brecht: Britain`s New Feminist Drama.` Feminist Theater And Theory. Ed. Helene Keyssar. London: Macmillan, 1996, 19-34.
Selmon, Michael
Layne. Engendering Drama: Caryl Churchill and The Stages of Reform. Ann Arbour: UM1, 1988.
Thomas, Jane. `The Plays of Caryl Churchill: Eassays in Refusal.` The Death of The Playwright?. Ed. Adrian Page. London: Macmillan, 1992.
Zarrilli, Phillip B., ed. Acting (Re)Considered: Theories and Practices. London and New York: Routledge, 1995.
The Dramaturgy of Caryl Churchill`s Top Girls
Abstract Chung-yeol Park
Considering the oppressive system and ruling patriarchal ideology deeply rooted in the society, Caryl Churchill, a British Woman playwright, has consistently dealt with the consciousness of feminism by using various dramaturgies.
This thesis examines how the playwright`s social concern about feminism and socialism leads her to reshape conventional forms in theatre. Churchill`s plays presume that the aesthetic and the political are intrinsically linked, and that changes in one realm can lead to a rethinking of conventions in the other. Her concern always remains with women`s oppression under a patriarchal society. The technique that she exploits through effective usages of language and dramaturgy conveys her favorite themes and is suitable to her plot structure.
Top Girls establishes Churchill`s reputation for both aesthetic achievement and commercial success. In Top Girls, Churchill`s theatrical imagination grapples with images of female success from the past and
the present as a means of further exploring the women`s real situation. And seven female cast members play a total of sixteen different characters, five of whom do not exist in the present. This play breaks the conventional methods of portraying life on the stage, and suggests new ways of seeing reality by proceeding the action anti-chronologically.
Churchill leads the audience to question the recognized concept of gender and history. Through her works, Churchill intends to suggest that oppression is still a real problem for women. She also seriously raises the mandatory aspects of social changes and its following possibility for human equality in the world.
In conclusion, as for Churchill, the present moment is not divorced from the past, or indeed the future; past and future overlap the present and at times all three exist together. We are able to look forward to much more innovative and fluid theatre in the future thanks to Churchill`s innovative dramaturgy and theatre techniques.
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