신세계 질서의 불편한 진실을 고하다: ‘빵과 인형 극단’의 예술과 실천

Abstract

In the 1960s, responding to a series of political and social concerns, a number of radical theatre groups appeared in USA with an intention to change society. Among them was the Bread and Puppet Theatre. In the manifesto of 1962, Bread and Puppet proclaimed its founding spirit and moto: art should be produced as response to life, as expression of what is shared with other, as out of felt need, for the sake of doing it. Accordingly, Bread and Puppet has been the most influential theatre of political radicalism, presenting itself in critical moments of US history, responding to life through theatrical experiments, and consequently acting out the needs for change. Bread and Puppet criticizes the imperialist tyranny of the ‘Big Brothers’ such as government, armed forces, capital, and politics, disclosing both the arrogance of warmongers and the despair of the victims. At the same time, Bread and Puppet’s artistic-political action suggests the necessity of change and corresponding direction that America and the global society should take. This study illuminates the significance of Bread and Puppet’s artistic practice as a way of responding to life, reflecting its agenda and maneuver so far. Particularly focusing on the 1991 performance Columbus: The New World Order, this study clarifies the uncomfortable truth of the ‘New World Oder’ Bread and Puppet calls people’s attention to, and its implications in terms of their artistic activism.