줄리어스 시저(셰익스피어 전집 11)
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주문일로부터 8-12 영업일
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윌리엄 셰익스피어의 로마 비극 『줄리어스 시저』는 로마 공화정의 몰락과 제정 로마의 등장을 알리는 정치적 격변의 시기를 다룬다. 기원전 44년 3월 15일 56세의 시저 암살로부터 기원전 42년 필립파이 전투에서 공화주의자인 브루투스 일파의 패배로 내전이 종식되기까지 3년에 걸친 기간을 압축적으로 제시하고 있는 이 작품은 정치극인 동시에 이상주의와 현실주의의 대립이라는 인간의 영원한 실존적인 문제를 제기한다. 왜 이상주의자들은 현실 감각이 부족할까? 이상주의자이기 때문에 현실감이 부족한 것인가, 현실감이 부족하기 때문에 이상주의자인가 하는 질문은 현실 정치는 과연 정치적 이상주의와는 병존할 수 없는 것인가, 정치적 현실주의가 과연 바람직한 것인가 하는 등의 질문을 계속 자아낸다. 물론 셰익스피어는 이 작품에서 이상주의가 현실의 삶 속에서 작용하게 될 때 갖게 되는 한계를 분명하게 인식하고 있다. 미신이나 어떤 징조의 의미를 믿지 않던 현실주의자 카시우스가 어이없는 판단 착오로 자살하기 직전에 자신의 운명이 다했음을 까마귀 같은 흉조가 자신 향해 날아드는 것을 보고 직감적으로 예감한다든지, 로마의 견인주의 철학을 신봉해서 자살을 겁쟁이들의 소치로 폄하하던 브루투스가 자신의 최후의 권위와 자존심을 지키기 위해 스스로 목숨을 끊는 행위 등은 이상적인 원칙이 현실에서 왜곡되거나 변형될 수밖에 없는 현실의 복잡성을 바라보는 셰익스피어의 현실 인식이 반영된 결과이다.
셰익스피어는 가장 정치적인 것이 가장 연극적인 것이며, 가장 연극적인 것이 가장 정치적인 것이라고 생각한다. 브루투스는 자신들의 시저 살해가 앞으로 탄생할 신생국가에서 자신들이 알 수 없는 외국어로 반복해서 공연될 것이라고 말하는데, 이것은 정치적 반란이 세상이라는 현실 무대에서 지속될 것이라는 셰익스피어의 확신을 대변하는 것이다.
브루투스는 시저 살해를 일종의 희생 제의로 규정하며 자신과 자신의 일파는 인간 도살자들이 아니라 제사장이라고 주장하며 시저의 피에 손을 씻고 칼에 그 피를 바르는 의식을 치른다. 이것 역시 정치행위를 연기술과 동일시하는 셰익스피어의 인식을 반영하는 것이며, 그의 영국사극 가운데서 빈번하게 발견되는 유비이기도 하다. 말을 바꾸면, 연극은 정치이기 때문에 연극 무대는 현실정치가 펼쳐지는 세상의 공간이며, 정치가 연극이기 때문에 정치 역시 극적인 긴장과 반전을 동반하는 볼거리이며 상상력을 통한 참여와 공감, 비판이 필요한 분야임을 셰익스피어는 연극과 정치의 유비적 상동관계를 통해 제시한다.
셰익스피어는 가장 정치적인 것이 가장 연극적인 것이며, 가장 연극적인 것이 가장 정치적인 것이라고 생각한다. 브루투스는 자신들의 시저 살해가 앞으로 탄생할 신생국가에서 자신들이 알 수 없는 외국어로 반복해서 공연될 것이라고 말하는데, 이것은 정치적 반란이 세상이라는 현실 무대에서 지속될 것이라는 셰익스피어의 확신을 대변하는 것이다.
브루투스는 시저 살해를 일종의 희생 제의로 규정하며 자신과 자신의 일파는 인간 도살자들이 아니라 제사장이라고 주장하며 시저의 피에 손을 씻고 칼에 그 피를 바르는 의식을 치른다. 이것 역시 정치행위를 연기술과 동일시하는 셰익스피어의 인식을 반영하는 것이며, 그의 영국사극 가운데서 빈번하게 발견되는 유비이기도 하다. 말을 바꾸면, 연극은 정치이기 때문에 연극 무대는 현실정치가 펼쳐지는 세상의 공간이며, 정치가 연극이기 때문에 정치 역시 극적인 긴장과 반전을 동반하는 볼거리이며 상상력을 통한 참여와 공감, 비판이 필요한 분야임을 셰익스피어는 연극과 정치의 유비적 상동관계를 통해 제시한다.
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4막 1장 ·······································································································116
2장 ·······································································································120
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5막 1장 ·······································································································143
2장 ·······································································································151
3장 ·······································································································152
4장 ·······································································································159
5장 ·······································································································162
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2장 ········································································································22
3장 ········································································································39
2막 1장 ········································································································48
2장 ········································································································67
3장 ········································································································75
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3장 ·······································································································113
4막 1장 ·······································································································116
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5막 1장 ·······································································································143
2장 ·······································································································151
3장 ·······································································································152
4장 ·······································································································159
5장 ·······································································································162
작품해설 ·····································································································169
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