베케트의 . . . but the clouds . . . 에 대한 들뢰즈적 읽기 - 비전, 오디션, 그리고 예술의 절대적 탈영토화
A Deleuzian Reading of Samuel Beckett"s . . . but the clouds . . . : Vision, Audition and the Absolute Deterritorialization of Art
In this essay I make an attempt to read Samuel Beckett"s television drama . . . but the clouds . . . through the Deleuzian theories of art and literature. My main concern in the present reading of Beckett in the light of the Deleuzian concept of Art lies in tracing and proving the line of flight in the play which marks a unique place among Beckett"s oeuvre in terms of its configuration of aesthetic assemblage: to juxtapose ephemeral image and impersonalized voice which is prerecorded. My purpose is to illuminate the nature of Beckett"s so called "the matter of fundamental sound", the statement which has perplexed me ever since I first met with it, together with the nature and method of the writer"s lifelong project of "boring holes on the surface of language" as he professed to Axel Kaun as a young writer. In the main part of this article I analyze the play as the process of absolute deterritorialization which can be rendered visible and audible only in the form of art and music. Tracing and recognizing the trajectory of becoming, I draw the conclusion that . . . but the clouds . . . shares the same immanent singularity with cosmic ritornello(refrain) that opens itself to the cosmic forces. As an abstract machine, the play, effacing all the foundation for subjectivation and memory, explores the possible assemblage to bore holes on the surface of language. Subsequently, the closed up image of "a woman", reduced to only mouth and eyes, is freed from the white wall(signification)/black hole(subjectivity) system through the elimination of the contouring shape and body. Also, although her moving lips recite a few words from Yeat"s poem, it is the disembodied voice of M that we hear on TV screen. The intensity of the image first expressed through dissipation, "the fall, the pure intensity" as Deleuze calls it, is now enhanced through making the sound inaudible and followed by the voice of M/Camera. In the final scene of the play, the image dissipates together with the visual and auditive images of nature evoked in the poem, the bird"s sleepy cry and "but the clouds of the sky". The Deleuzian Vision and Audition(sound) can be heard and seen only in this Void, ie., when words gone. The sobriety of Beckett"s medium that we can witness in this play is essential for the absolute deterritorialization in art.
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