초록

This paper proposes a realistic interpretation of Sam Shepard's early one-act plays, considering their pronounced theatricality both as reflection and problematization of increasing theatricalization of contemporary everyday life. This interpretation challenges the dominant view that his early plays embody the liberating aesthetics absorbed from the american avant-garde theater movement in the sixties. The essential idea of this movement is epitomized in its strong valorization of performance. Performance, which used to be understood as faithful staging of plays, became autonomous theatrical activity free from (or opposing to) restricting literary text and was celebrated for anticipating social transformation. This paper does not deny the strong influence on Sam Shepard of the innovative ideas and techniques developed by various performance-oriented theater groups. However, what he dramatized by employing them is far from the ideal of performance envisioned by the avant-garde theater practitioners. Rather, his radically theatrical plays seem to implicitly criticize increasing performance impulse which modern urban life encourages. There has rarely been this kind of critical efforts which relate Shepard's innovative theatrics to critical realism. Anti-realism, which is the critical legacy of the counter-culture in sixties including the avant-garde theater, currently seems to dominate our critical thoughts. This paper aspires to provide an opportunity to reconsider the anti-realistic critical paradigm.

키워드

Sam Shepard, The American Avant-Garde theater, Performance, Metatheater, Anti-Realism

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