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@article{ART002914389},
author={Jang Youngji},
title={The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree},
journal={Journal of Modern English Drama},
issn={1226-3397},
year={2022},
volume={35},
number={3},
pages={87-117}

TY - JOUR
AU - Jang Youngji
TI - The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree
JO - Journal of Modern English Drama
PY - 2022
VL - 35
IS - 3
PB - 한국현대영미드라마학회
SP - 87
EP - 117
SN - 1226-3397
AB - This article explores the meaning and effect of theatrical language strategies that appeal to audience’s bodymind from the perspective of embodied cognitive theory. Especially, cognitive linguistics argues that the relationship between language and body is based on embodied cognitive theory and reveals that body and mind are closely connected. According to George Lakoff, Mark Turner, and Mark Johnson, we create schema through repeated and ubiquitous physical experiences, metaphorically map these schemata to something or some situation, and then come to abstract understanding. Considering these discussions, we need to pay attention to the physical experiences inherent in theatrical language, and it can be inferred that such embodied language can affect the communication between the speaker and the listener, or between the stage and the audience. In An Oak Tree by British playwright Tim Crouch, the effects of languages that evoke motor sense and appeal to the audience’s bodymind are outstanding. First, this work allows the second actor and audience to clearly experience the power of words or utterances. This experience is the foundation on which embodied language can work. Theatrical language that effectively depicts the actions, movements, and mind of the character piques the audience’s imagination. In addition, while visualizing invisible scenes in their minds, the audience can understand the situation and character’s emotions, infer the meaning of the lines and situation, and empathize with the character. The finding of this article are meaningful in that it suggests another way to analyze theatrical language and explores the audience’s experience and cognitive work.
KW - An Oak Tree;audience;embodied cognition;embodied language;imagination;Tim Crouch
DO -
UR -
ER -

Jang Youngji. (2022). The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree. Journal of Modern English Drama, 35(3), 87-117.

Jang Youngji. 2022, "The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree", Journal of Modern English Drama, vol.35, no.3 pp.87-117.

Jang Youngji "The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree" Journal of Modern English Drama 35.3 pp.87-117 (2022) : 87.

Jang Youngji. The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree. 2022; 35(3), 87-117.

Jang Youngji. "The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree" Journal of Modern English Drama 35, no.3 (2022) : 87-117.

Jang Youngji. The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree. Journal of Modern English Drama, 35(3), 87-117.

Jang Youngji. The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree. Journal of Modern English Drama. 2022; 35(3) 87-117.

Jang Youngji. The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree. 2022; 35(3), 87-117.

Jang Youngji. "The Appeal of Theatrical Language to Audience’s Bodymind in An Oak Tree" Journal of Modern English Drama 35, no.3 (2022) : 87-117.