옵시스(opsis)로서 풍경 극장의 형식성 -에이도푸시콘과 <슈티프터의 사물들>의 시각성을 중심으로-

초록

In the wake of Enlightenment and the rise of Industrial Revolution, Romantic landscape painter/stage designer Philip J. de Loutherbourg’s theatrical invention Eidophusikon(1781) hovered between the world of painting/theater, art /technology, physics/supernatural. The very definition of Eidophusikon, which means ‘Phantom of nature’ foresees the problematics of theater in the age of mechanical reproduction. The fleeting nature of scenographic image of landscapes with ever-changing weather conditions were mediated through ‘En plein air’, yet its representation as miniaturized stage setting was mechanically systematized with kinesthetic orchestration of lights, color, sound effects, live music and movement. De Loutherbourg’s micro-sized landscape drama had evolved into R. Baker’s immersive Panorama and eventually Louis Daguerre's illusory Diorama theater which subsequently led to the invention of photography and motion picture. This paper aims to probe the genealogy of landscape theater and its relevance to contemporary performance space, especially Postdramatic theater.

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