Detailed Information

Cited 0 time in webofscience Cited 0 time in scopus
Metadata Downloads

『 왕은 살아있다』: 치유를 향한 긴 여정A Long Journey toward Healing: The King Is Alive

Authors
조숙희
Issue Date
2014
Publisher
한국셰익스피어학회
Keywords
『 왕은 살아있다』; 『 리어왕』; 셰익스피어; 드라마테라피; 수 제닝스; The King Is Alive; King Lear; Shakespeare; dramatherapy; Sue Jennings
Citation
Shakespeare Review, v.50, no.2, pp 313 - 332
Pages
20
Journal Title
Shakespeare Review
Volume
50
Number
2
Start Page
313
End Page
332
URI
https://scholarworks.bwise.kr/cau/handle/2019.sw.cau/13364
DOI
10.17009/shakes.2014.50.2.005
ISSN
1226-2668
Abstract
Shakespearean plays have been frequently adapted to films since the movie was invented. King Lear, as one of them, has revealed its malleability into versatile perspectives. This paper concentrates on The King Is Alive, among the numerous film versions of King Lear, as a case study of dramatherapy. In the movie, a group of travellers are thrown into the middle of Kalahari desert due to the broken compass and shortage of gasoline. Facing the fear of death, they start rehearsing Shakespeare’s King Lear, led by Henry, a member of the group. Through rehearsals, they confront inner and outer conflicts that finally lead to healing of their trauma even with some exception of destructive results. The procedure remarkably reflects Sue Jennings’ theory of drama therapy: E(Embodiment), P(Projection), and R(Role Play). As a result, the movie shows us that King Lear, like most other plays by Shakespeare, never fails to provide a wonderful spectrum which reflects a wide variety of human conditions combined with cultural and political implications.
Shakespearean plays have been frequently adapted to films since the movie was invented. King Lear, as one of them, has revealed its malleability into versatile perspectives. This paper concentrates on The King Is Alive, among the numerous film versions of King Lear, as a case study of dramatherapy. In the movie, a group of travellers are thrown into the middle of Kalahari desert due to the broken compass and shortage of gasoline. Facing the fear of death, they start rehearsing Shakespeare’s King Lear, led by Henry, a member of the group. Through rehearsals, they confront inner and outer conflicts that finally lead to healing of their trauma even with some exception of destructive results. The procedure remarkably reflects Sue Jennings’ theory of drama therapy: E(Embodiment), P(Projection), and R(Role Play). As a result, the movie shows us that King Lear, like most other plays by Shakespeare, never fails to provide a wonderful spectrum which reflects a wide variety of human conditions combined with cultural and political implications.
Files in This Item
There are no files associated with this item.
Appears in
Collections
College of Humanities > Department of English Language and Literature > 1. Journal Articles

qrcode

Items in ScholarWorks are protected by copyright, with all rights reserved, unless otherwise indicated.

Altmetrics

Total Views & Downloads

BROWSE