진상(眞相)으로서 스펙터클 연극, 로메오 카스텔루치의 <내생(內生)하는 비극> -<#04. 브뤼셀>을 중심으로

초록

Italian theater director/designer Romeo Castellucci posits the dynamics of the audience and the stage spectacle as one of domination and violence. This inherent violence is already embedded in the physical arrangement of the theater, and the anonymity of the dominant - subjugated relationship and the ensuing tragic nature are considered the essence of the spectacle. The eruption of violence, suppressed primitive instincts, is a structural phenomenon of the 'society of the spectacle.' Castellucci believes that modern tragedy emerges when 'God dies' and 'the animal vanishes from the stage.' He asserts that the theater should be a place that restores 'pre-tragic' existence. In this context, the dramatic theater is posited as 'the reality of the spectacle,' 'a site for the registering of suffering,’ and ‘a sight of the offence,’ opposing the 'social spectacle' generated by the defense mechanisms of self-denial. In the episodic drama Tragedia Endogonidia, modeled on Greek tragedy, the issue of the spectacle is directly related to the body suffering within the constraints of 'seeing - being seen' of self-acceptance. Structurally, Tragedia Enogonidia signifies a process of realizing the existence of an inexorable reality that cannot be judged by common sense. It emphasizes the corporeality of a pre-linguistic, emotional experience; the truth of reality is revealed not through the narrative of ethics but through the affected sensation of spectacles. This paper endeavors to explore the functionality and intentionality of the Castellucci’s spectacle by analyzing the formal aspects and methodology apparent in key scenes. The primary focus lies in capturing the portrayal of tragedy as a theatrical form and seeking to understand the efficacy of Castellucci's ‘spectacle theater’.

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