KJCKorea
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This paper discusses how audiences experienced and accepted Lee Hyunhwa's <Cadenza> under a certain circumstances. The <Cadenza> first performed by director Jung Jinsoo at the second Korean Theater Festival in 1978 and restaged by director Chae Yunil in 1985 are a target of discussion. In other words, this paper intends to discuss spectators' experience about <Cadenza> than the meaning of <Cadenza> text itself. Although precedent studies have academic achievements, a study on the acceptance phase of Lee Hyunhwa's plays has been unnoticed and neglected. In this respect, the study on the acceptance phase of <Cadenza> is important because it focuses on literary and theatrical fruits of the world of Lee Hyunhwa's works at another point. This discussion will have individuality in that it investigates a audiences' experience in abundance, rejecting a biased audience study like exclusively institutional, historical explains about the birth of spectators and researches only concentrating on theatergoing experience itself. Referring to various audience response criticisms, this article will explore how spectators form dynamically their own subjectivity. The concept of 'misreading' is suitable for grasping a active contextualizing process related to the receptiveness. The misreading used by this paper isn't a individual subjective understanding. Rather, it means finitude of interpretative condition according to the contexts surrounding audiences, i.e. a chaotic condition thrown into by opposition between expectational horizon of <Cadenza> text and expectational horizon of audiences. Therefore, spectator's misreading about <Cadenza> shows us a dynamic aspect of acceptance experience as events. In order to investigating these relations between audiences conforming to a dominant ideology and upsetting a dominant ideology,this paper is comprised of a two-tier system of discussion, i.e. a discussion on ideal spectators and real spectators. As a result, it comes to light through this paper how closely audiences' two statuses as passive objects of theatrical work's control and as active agencies of theatrical interaction are connected.

Lee Hyunhwa, audience response criticisms, blanks, expectational horizon, misreading, performance