• 한국연극학
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• 제48호
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• pp.447-484
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• 2012

This study aims to analyze the characteristics of post-epic theatre in the Belgian theatre director Jan Lauwers' trilogy titled in "Happy Face/Sad Face": (2004), (2006) and (2008). I regard that it played a very important junction for him to create his own theatrical style compared to earlier years. From this period, Lauwers has tried to create his original plays in order to concentrate the story of our era and has showed to combine a variety of media such as dance, installation, video, singing etc. In this context, I would like to study his own theatricality from the three perspectives of dramaturgy, directing and acting largely based on Hans-Thies Lehmann's theory of post-epic theatre, who pointed out the significance of Lauwer's theatrical leading role very early. First, from the dramaturgical point of view, we need to pay attention to the theme of translunary death; where the living and the dead coexist on the stage. In fact, death is the theme that Lauwers has been struggling to research for quite long time. In his trilogy, the dead never exits the stage. The dead, who is not a representative tragic character, even meddles the things among or with the living and provide comments to people. As a consequence, it happens to reduce a dramaturgical strong tension, leads depreciation of suspense and produces humanism in a way. This approach helps to create his unique comical theatrical atmosphere even though he deals with the contemporary tragic issues such as war, horror and death. Second, from the directing point of view, it is worth to take a look at the polyphonic strategy in terms to applying various media. Among all the things, the arts of dancing and singing in chorus are actively applied in Lauwer's trilogy. The dance is used in individual and microscopic way, on the other hand, singing shows collective and is a macroscopic quality. The dance is the representing media to show Lauwer's simultaneous microscopic mise-en-scene. While main plot takes place around the center-stage, actors perform a dance around the off-centered stage. Instead of exiting from the stage during the performance, the actors would continue dance -sometimes more like movements- around the off-centered stage. This not only describes the narrative, but also shows how each character is engaged to the main plot or incident, and how they look into it as a character. Its simultaneous microscopic mise-en-scene intends to function such as: showing a variety moments of lives, amplifying some moments or incidents, revealing character's emotion, creating illusionary theatrical atmosphere and so on. Meanwhile, singing simple lyrics and tunes are an example of the media to stimulate the audiences' catharsis. As the simple melody lingers in the audiences' mind, it ends up delivering a theatrical message or theme after the performance. This message would be transferred from the singing in chorus functions as a sort of leitmotive in order to make an impression to the audience. This not only richens their emotion but also creates an illusionary effect. Third, from the acting perspective, I'd like to point out the "detachment" aesthetic which Lehmann has pointed out. The actors never go deep into the drama by consistently doing recognize a theatrical illusion. The audience happens to pay attention to their presence through the actor's deliberate gesture, business, movement, rhythm, language, dance etc. The actors are against forming closed action by speaking in various languages or by revealing deliberately stage directions or acts, and by creating expressive mise-en-scene with multiple media. As a consequent, the stage can be transformed to not a metaphoric but a metonymic place. These actions are the ultimate intention for a direct effect to the audience. So to speak, Lauwers uses the anti-illusionary theatrical method: the scenes of fantastic death, interruption of singing and dance, speaking many kinds of languages, acting in detachment-status and so on. These strategies function to make cracks in spectators' desire who has a desire to construct a linear narrative. I'd like to say that it is the numerous potentiality to let the reality penetrate though and collide the reality with a fiction. By doing so, it induces for spectators to see the reality in the fiction. As Lehmann says, "when theatre presents itself as a sketch and not as a finished painting, the spectators are given the chance to feel their own presence, to reflect on it, and to contribute to the unfinished character themselves". In this sense the spectators can perform an objective criticism on our society and world in Lauwer's theatre because there are a number of gaps and cracks in his theatrical illusion where reality can penetrate. This is also the point that we can find out the artists' responsibility in this era of our being.

• 대한토목학회논문집
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• 제29권5A호
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• pp.565-575
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• 2009

최근, 테러 및 전쟁과 관련된 폭발사고가 빈번히 발생하고 있으며, 특히 도심지에서는 이러한 폭발사고로 인해 인명피해 뿐 아니라 주요 시설물에도 큰 손상이 가해져 제2차, 3차의 피해가 발생하게 된다. 폭발사고에 대하여 인명 및 시설물을 안전하게 보호하기 위해서는 기본적으로 구조물에 가해지는 폭발하중 효과에 대한 이해가 필요하다. 폭발하중은 매우 빠른 시간 내에 콘크리트 구조물에 큰 압력으로 작용하는 하중이므로 변형률 속도와 구조물의 국부적인 손상을 고려하여 동적응답을 평가해야 한다. 일반적으로, 콘크리트는 다른 건설재료에 비해 상대적으로 높은 폭발저항성을 가진 재료이지만, 일반강도 콘크리트는 충격 및 폭발하중에 대하여 충분한 저항성능을 가지지 않는다. 그러므로 방호설계에서는 고에너지 흡수력과 높은 파괴저항성을 지니는 새로운 재료의 개발이 필요하다. 본 논문에서는 최근 활발하게 연구 중인 초고강도 콘크리트(UHSC)와 Reactive Powder Concrete(RPC)에 대한 방폭성능을 평가하고자 한다. UHSC와 RPC는 강도 및 성능향상, 부재의 치수 및 중량 감소, 내진저항성 향상과 같은 장점들로 인해 초고층건물 및 초장대교량에서 사용되어지고 있다. 또한 UHSC와 RPC는 9.11테러와 같은 테러 및 충격하중에 의한 사회주요시설물의 방호설계에 적용할 수 있다. 그러므로 본 연구에서는 폭발하중에 대한 UHSC 및 RPC 구조물의 거동을 파악하기 위하여 $1.0m{\times}1.0m{\times}150mm$의 슬래브 구조물 시편을 제작하여 폭발실험을 수행하였으며, 폭발파의 특성 뿐만 아니라 최대 및 잔류 변위와 철근과 콘크리트 표면에서 변형률을 측정하여 구조물의 거동을 분석하였다. 또한 손상 및 파괴모드를 각 시편별로 측정하였다. 본 실험을 통해 UHSC 및 RPC가 일반강도콘크리트에 비해 폭발저항성이 높은 것으로 분석되었다.