연극의 오브제에 대한 고찰-연극기호학의 반성과 새로운 모색을 위하여-

초록

Semiotics has advanced greatly from the research results of linguistic. Theatric semiotics also started out modeled on linguistic. It is a fact that theatric semiotics has benefited from results based on the strong reappearance of narrative-style theater, but a limitation has appeared in the applicability of theatric semiotics in the studies of ‘theatre de la marionette(E. G. Craig)’, ‘theatre de la mort(T. Kantor)’, ‘theatre d'objet(Philippe Genty)’, ‘theatre d'image(Robert Lepage, Robert Wilson)’, ‘Cirque du Soleil’, and ‘the theater of the absurd’, and ‘the theater of everyday life’. Since from this perspective, the need for us to carefully reexamined what is the essential form of the theater is clear, in order to see the essential reality(not the reenacted) that is the ‘object’, preceding the linguistic symbol. Thus we have been able to find a path to understanding the theater itself as the art of the "ostension" in a logical and methodological way. We expect that much fuller results on theatric semiotics will be brought forth from the research of pure non-linguistic theatric semeotics stemming from the concept of ‘object’.

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