브레히트의 서사극(Episches Theater)과 음악

• 영문명: Bertolt Brecht's Epic Theater and Music
• 발행기관: 한국서양음악학회
• 저자명: 김택완
• 간행물 정보: 『서양음악학』제9권 제1호, 117~136쪽, 전체 20쪽
• 주제분류: 예술체육 > 음악학
• 파일형태: PDF
• 발행일자: 2006.01.30

영문 초록

Bertolt Brecht(1898-1956) is one of the greatest German writers in the 20th century. Criticizing the traditional drama, he established and developed a new theater form, called epic theater. Not empathy but “Verfremdung” is the central aesthetic concept of epic theater. Its purpose is to make the audience see the social constellation objectively and to take a critical view of the social reality. It will lead the audience to the cognition and enlightenment that implicate the social changes. It means the perfect functional conversion of the traditional theater. For this functional conversion, Brecht gave a new function to music. In epic theater music disturbs the empathy of audience through the “Verfremdungseffect” and plays the role of reflection and comment. Music shows the social “Gestus” and requires the audience and the actors to keep a distance from the stage. As a independent element music is also related to the cognition and enlightenment of audience. The historical Meaning of Brecht's epic theater can be summed up in two ways: On the one hand it intermediates between art and reality through emphasizing the socioal function of art, on the other hand it establishes a new aesthetics through denying the traditional aesthetic principles and introducing of the concept of “Verfremdung”. His “V-Effekt” has a great influence on succeeding development of theater.

목차

1. 시작하는 글

2. 브레히트 서사극 이론의 발전과정

3. 서사극 이론

4. 서사극에서의 음악사용에 관하여

5. 맺는 글

참고문헌

키워드

서사극 낯설게하기(소외) 자세 자세음악 Episches Theater Verfremdung Gestus Gestische Musik