핀터 극에 나타난 주체와 욕망 : 『달빛』을 중심으로

Subject and Desire in Pinter’s Play : Moonlight

Pinter’s ambiguity is shown in most of his plays regardless of the period they were written in. Pinter does not make distinctions between what is real and unreal, or between what is true or false, or between language and reality. His ambiguity contains postmodern views on language as an always-already discursive, never a transparent, objective window onto reality. Some of Pinter’s postmodernist critics argue neither reality nor subjectivity in his plays are understood as stable, transcendental signifieds which language unproblematically refers to or expresses. Thus, it serves as the ‘entrapment model’ according to which any form of resistance to power ultimately works to reinforce it, since the subject, radically enmeshed with language and power structures, can never find a position ‘outside’ them from which to carry out the task of critical reflection. However, other critics claim that Pinter’s drama with his ambiguity may be read as an ongoing investigation into whether there is a space for the subject out ide the dominant order. They do so by supporting the postmodernist insight that absolute ‘truths’ may lead to oppressive political practices. Moonlight, is structured by the discontinuity and the continuity between the two coexisting driving forces of Oedipus and anti-Oedipus, the rupture between the two, and to lead us to see a possibility of a completely new “assemblage,” a “continuous variation” in the “milieu” between the two. The two female characters in Moonlight, Bel and Bridget, move out of Oedipal territory through a line of flight in the gap of Oedipal structure as rizomes and create a new life. Meanwhile, the male characters, Andy, Fred, and Jake lose their control and become dependent on female characters, but still remain in Oedipal structure. Bridget and Bel achieve ‘becoming-minor’ by themselves to escape from Oedipal territory but the male characters as majors attempt ‘becoming-minor’ only through the female characters. ‘Becoming-minor’ is the main concept of Deleuze and signifies the establishment of a line of production to flee the dominant molar system of Oedipal structure. ‘Becoming’ is a ‘becoming-minor’ and a ‘becoming-minor’ can be attained through a ‘becoming-woman.’ ‘Becoming-woman’ does not imitate or assume the female form, but emits particles that enter the relation of movement and rest, or the zone of proximity, of a microfemininity, in other words, that produce in us a molecular woman. Bridget and Bel are in the process of becoming functions not only as a connector but also a positive and revolutionary subject.