이현화의 희곡 <카덴자>와 <오스트라키스모스>에 나타난 헤테로토피아적 공간성

Abstract

This study postulated the theatrical space presented in Lee Hyun-hwa’s plays―<Cadenza>(1978) and <Ostrakismos>(1979), which were the analysis subjects, for the heterotopic space that overlaps incompatible places in an actual place and investigated it with a focus on the play space and the event place. From a theatrical aesthetic point of view, <Cadenza> erases the boundary between the stage space and the auditorium space and mixes the historical past, theatrical situation, and the reality of performance. Though <Ostrakismos> released the following year was not brought onto the stage, it advanced the spatial experiment of <Cadenza> and showed a theatrical strategy for the performance embracing the entire theater space.
 As a female audience is dragged out into a theatrical situation in <Cadenza>, the audience experiences a contradictory situation due to whether the event on the stage space should be treated at an aesthetic distance or they should intervene in the theatrical event with ethical and moral judgment. In this situation, the audience experiences the boundary between the play and reality. As a result, the context of <Cadenza> can be connected to not only the theatrical situation but also to a “social situation.” Meanwhile, <Ostrakismos> is a play planned to let the audience move around the theater building, which may be Lee’s attempt to allow the audience to occupy various spots of the space and play a specific role in the play, while trying to understand the relative perspective. In this way, <Cadenza> and <Ostrakismos> can be said to induce new and reflective thoughts on the recognition and perception of reality by providing a place for audiences to experience theatrical events through heterotopic extensity that crosses the boundary between daily and non-daily as breaking down the stage and auditorium space.