본 논문은 글로벌화와 대규모 이주민의 유입 등으로 인해 이전과는 다 른 사회, 문화적 상황에 처해 있는 지금의 아일랜드를 포스트-켈틱 아일랜드로 규정하 고, 동시대 아일랜드 연극을 이해하기 위해서 문화상호주의적 접근방식이 필요함을 확 인해보려는 시도의 글이다. 문화상호주의적 연극에 대한 개념적 이해, 아일랜드에 새 롭게 유입된 이주민 공동체 극단의 공연에 대한 분석 그리고 다큐멘터리 드라마투르 기와 같은 극작법의 변화 양상 등의 주제를 중심으로 포스트-켈틱 시대 아일랜드의 새로운 정체성 모색의 다양한 갈래들을 점검해 보고 있다

Since the end of 1960s, an era of internationalization, Interculturalism has been reflected in intercultural plays which borrow concepts of foreign-cultural aesthetics for the performance and create a new stage language. Among many writers and performers, Oh, Tae-seok created his own unique aesthetic performances through experimental and avant-garde methodologies connected with various areas of art. His plays are worth studying since they suggest us a point of view which helps us to get out of the ordinary, fixed thought and try to see variety of reality. Therefore, our study categorized Oh, Tae-seok’s play into four areas according to grotesquery interculturalism : Evil sprit, Abhorrence, Exaggeration and distort, and Heterogeneity. Based on this category, we analyzed plastic artistic characteristics of his plays’ stage costume, for example, shapes, materials, and color, and tried to enhance the aesthetic value of his plays. We made a conclusion that the play showed grotesquery features in stage costume, which represented death, tragedy, evil sprit of human negligence, surprising and grotesquery abhorrence by deformity of the body, exaggeration and distortion, ridiculousness, and heterogeneity, the mixture of abnormality and unstableness. Our study could help produce adequate stage costume matching the features of the performance, and be the cornerstone of grotesquery aesthetic interculturalism study reflected in stage costume.