미녀와 야수(필립 글래스)

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미녀와 야수(La Belle et la Bête)

음악	필립 글래스
원작자	장 콕토(Jean Cocteau)
원작	미녀와 야수(La Belle et la Bête)

필립 글래스의 오페라
오르페 (1993)	→	미녀와 야수 (1994)	→	앙팡 테리블 (1996)

필립 글래스의 장 콕토 3부작
오르페 (1993)	→	미녀와 야수 (1994)	→	앙팡 테리블 (1996)

“오페라의 혁명”
- 영국 음반전문지 '클래식CD'

1. 개요2. 등장인물3. 악기 편성4. 구성5. 평가6. 2차 창작7. 국내 공연8. 필립 글래스의 노트9. 필립 글래스와의 인터뷰

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1. 개요

La Belle et la Bete

장 콕토의 영화 '미녀와 야수'를 바탕으로 한 필립 글래스가 창조한 새로운 장르 필름 오페라의 한 작품. 장 콕토 3부작 가운데 2번째 작품이기도 하다.

장 콕토의 1946년 작품 '미녀와 야수'는 원작 동화를 회화적으로 영상화하여, 동화를 그 이상의 것으로 승화시켰다는 찬사를 받는 명작 고전영화다. 그리고 수십년 뒤 필립 글래스는 이 영화를 그대로 상영하면서 배우들의 대사에 맞춰 음악을 써서 영화를 상영하는 동시에 오케스트라와 성악가들이 연주를 선보이는 '필름 오페라'를 만들어낸다. 이 포맷은 무대와 영상과 음악이 혼연일체가 된 또 하나의 예술이념으로 자리매김하게 됐다.

2. 등장인물

미녀역: 알렉산드라 몬타노/하이-팅 친
야수역: 그레고리 펀하겐

3. 악기 편성

번호	악기 약자	악기
1	2S	소프라노
2	Mz	메조 소프라노
3	2Bar	바리톤
4	2Bbar	베이스 바리톤
5	1pic	피콜로
6	1bcl	베이스클라리넷
7	1ssx	소프라노 색소폰
8	1asx	알토 색소폰
9	btrb	베이스 트롬본
10	tgl(tri)	트라이앵글
11	cym	심벌즈 [1]
12	glsp	글로켄슈필
13	tubular chimes	튜블라 차임
14	mar	마림바
15	hp	하프
16	syn	신시사이저
17	str	현악기

4. 구성

번호	제목	번역 제목
1	Ouverture	서곡
2	Les Soeurs	자매들
3	La Demande en Mariage d'Avenant	Avenant의 구혼
4	Le Voyage du Père	아버지의 여행
5	Le Domaine de la Bête	야수의 영지
6	Le Retour du Père	아버지의 귀환
7	La Belle va au Château	미녀가 성에 가다
8	Le Dîner	만찬
9	Les Tourments de la Bête	야수의 고통
10	Promenade dans le Jardin	정원 산책
11	La Saisie des Meubles	동산 압류
12	La Confiance de la Bête en la Belle	미녀에 대한 야수의 신뢰
13	Belle retourne Chez son Père	미녀가 아버지 집으로 돌아오다
14	Belle raconte son Histoire	미녀가 자기 이야기를 하다
15	Le Plan	계획
16	La Passion d'Avenant	Avenant의 열정
17	Le Magnifique Apparaît	매그니피선트[2]가 나타났다
18	Le Miroir	거울
19	Le Pavillon	별관[3]
20	La Métamorphose	변신

5. 평가

LG아트센터 이현정 기획팀장은 “필립 글래스의 ‘미녀와 야수’는 10년 전부터 굉장히 소개하고 싶던 작품이에요. 굉장히 독특해요. 장 콕토의 흑백 영화를 틀고 소리를 다르게 입혀 립싱크 효과를 낸 게 매력적이죠. 우리가 동화로만 알고 있는 ‘미녀와 야수’가 얼마나 현대적이고 환상적일 수 있는지, 또한 현대 예술사에서 기념비적인 두 거장을 동시에 만난다는 점에서 관객의 호응이 상당할 거라고 예상합니다.”라고 말했다. 기사

6. 2차 창작

미녀와 야수(La Belle et la Bête)

편곡	마이클 리스만(Michael Riesman)
연주	마이클 리스만(Michael Riesman)

미녀와 야수 가운데 주요 장면을 마이클 리스만이 발췌하여 피아노 곡으로 편곡 및 연주한 앨범이 발매됐다.

번호	제목	번역 제목
1	Ouverture	서곡
2	Beauty Goes to the Castle	미녀가 성에 가다
3	Dinner at the Castle	성(城)의 만찬
4	A Walk in the Garden	정원 산책
5	The Beast's Trust	야수의 신뢰
6	Avenant's Passion	Avenant의 열정
7	The Mirror	거울
8	The Pavilion	별관
9	The Metamorphosis	변신

7. 국내 공연

2008년 대관령국제음악제 부분 발췌 한국 초연
2016년 3월 22일과 23일 LG아트센터 전체 한국 초연
2016년 3월 25일과 26일 통영국제음악제 전체 공연

8. 필립 글래스의 노트

“필름 오페라 미녀와 야수는 장 콕토 영화에 바탕을 둔 나의 3부작 가운데 두 번째 작품이다. 3부작의 첫 번째는 콕토의 영화 오르페의 시나리오를 체임버 오페라의 대본으로 사용한 오르페(1993)이다. 오르페에서 난 이 영화의 영상을 사용하지 않고 대본을 오페라 형태의 연출로 새롭게 시각화했다.
하지만 미녀와 야수는 원래의 사운드트랙을 모두 제거한 영화가 상영되는 가운데 영화의 대사에 맞춰 새롭게 작곡한 음악을 라이브로 연주하는 형태의 오페라다. 이러한 형태를 위한 작곡은 훨씬 더 복잡했다. 왜냐하면 성악가의 목소리가 스크린의 영상과 최대한 가깝게 맞춰져야 하기 때문이다. 3부작의 마지막은 무용/연극 작품으로 콕토의 영화 앙팡 테리블의 시나리오를 바탕으로 만들었다(1996년 완성). 이런 식으로 나의 3부작은 장 콕토의 영화들을 라이브 공연 형태인 오페라(오르페), 필름 오페라(미녀와 야수), 무용극(앙팡 테리블)으로 새롭게 해석했다.
미녀와 야수를 라이브 필름 오페라로 구현하는 작업은 대단히 어렵고 복잡했고, 내게 라이브 음악과 영화를 위한 프로젝트 경험이 없었더라면 시도하지 않았을 것이다. 하지만 80년대 중반 이후, 나는 음악감독인 마이클 리스만, 사운드 디자이너인 커트 먼카치와 함께 라이브 음악과 영화를 결합하는 다양한 프로젝트를 만들어서 발표해왔고, 구체적으로는 코야니스카시와 포와카시 등의 다큐멘터리 영화와 멜로 드라마 지붕 위의 1000대의 비행기(정확히 영화는 아니지만, 영화 이미지와 테크놀로지를 바탕으로 한다)를 들 수 있을 것 같다. 영화에 대한 이러한 집착은 20세기에 새롭게 탄생한 두 예술 장르에 대한 나의 애정(나머지 하나는 재즈다)에서 비롯됐다. 100년 간 영화의 세계는 새로운 종류의 표현장르를 탄생시켰다. 즉 과거에 역사소설, 연극, 시가 새로운 음악극의 바탕이 됐듯, 라이브 음악, 실험극, 무용, 심지어 오페라의 세계까지 끌어들일 수 있는 장르가 바로 영화다.
내게 장 콕토는 언제나 20세기 "근대" 예술운동의 중심이었던 아티스트다. 그는 당대의 여타 아티스트보다 예술, 불멸성, 창작 과정을 자신의 작품 주제로 삼으면서 끊임없이 이에 대한 질문을 던졌다. 당대에는 그의 예술이 제대로 이해됐던 것 같진 않으며, 때로는 제대로 인정받지도 못했다. 심지어 일부 평론가들은 스스로를 표현할 한 가지 장르에 완벽히 뿌리 내리지 못한, 재능있는 아마추어의 작품쯤으로 그의 작업을 치부하기도 했다. 하지만 실제로 그는 소설가, 희곡작가, 화가, 영화감독으로 성공한 예술가였으며, 내게 그의 미녀와 야수의 핵심은 언제나 명확했다. 바로 창작 과정 그 자체. 그리고 콕토는 최대한 다양한 시각에서 이 주제를 표현하기 위해 다채로운 예술형태를 활용하고 있었다.
장 콕토의 영화 중 오르페와 미녀와 야수, 그리고 초기작인 시인의 피(1930)는 예술가의 삶에 대한 대단한 숙고와 섬세한 고찰의 결과물이라고 할 수 있다. 이 중에서도 미녀와 야수는 그 양식에 있어 가장 직접적인 비유라고 할 것이다. 처음엔 단순한 동화로 보여지지만, 보다 넓고 깊은 주제인 예술 창작의 본질을 다루고 있음을 곧 알게 된다.
이런 시각으로 영화를 보게 되면, 초반에 벨의 아버지가 성을 찾아가는 여정은 곧 예술가가 자신의 '무의식'을 찾아가는 여정과 다르지 않음을 깨닫게 된다. 그렇게 되면 그 성이 바로 창작이 이뤄지는 장소가 되며, 이 곳에서 영혼의 특별한 연금술을 거치면서 상상의 세계가 펼쳐지게 되는 것이다. (영화의 마지막 장면처럼 말이다.)
아마도 이런 이유로, 미녀와 야수는 언제나 내게 장 콕토의 작품 중 가장 강력한 메시지를 주는 작품이었던 것 같다. 그 어떤 것보다도 이 작품이 그의 심오한 사상과 예술적 비전을 가장 잘 보여주고 있다고 생각한다.”

9. 필립 글래스와의 인터뷰

조나단 코트(Jonathan Cott)와 필립 글래스의 대담

조나단 코트
동화(fairy tale)들에는 흔히(often) 마법의 왕국, 마법에 걸린 숲, 또는 변신이 일어나는 미스테리한 성이 나옵니다. 공포와 두려움, 흥분이 뒤섞인 채로 그 성에 들어가게 되죠. 필립 글래스 버전의 미녀와 야수에서도 그 왕국에 들어가게 되죠.
자, 당신은 언제? 그리고 왜? 이 작품을 작곡하기로 했습니까?

필립 글래스
저는 생각합니다. 당신은 삶의 어떤 순간에(at a certain point) 오랜 기간 생각해왔던 창작을 시작한다고 말이죠. 미녀와 야수, 그리고 오르페와 앙팡 테리블같은 다른 장 콕토 프로젝트들은 제가 적어도 20년 정도를 기다린 끝에 마침내 창작하기로 한 겁니다.
저는 1954년에 프랑스로 공부하러 갔을 때, 장 콕토의 영화를 처음으로 봤습니다. 17살 무렵이었죠. 그 때 내가 본 파리는 장 콕토의 파리였어요. 장 콕토의 오르페에서 당신이 본 보헤미안의 삶은 내가 이미 알고 있고 끌렸던 삶이었어요. 그들 캐릭터와 함께 많은 시간을 보냈죠. 나는 화가의 스튜디오에 갔고 그들의 작품을 봤죠. 그리고 나는 보자르 파티(Beaux Arts ball)에 갔고, 밤새 어울려 놀았어요. 그래서 장 콕토의 세계와 제 세계 사이에는 다리가 있습니다. 아주 희미한 것이기는 하지만 말이죠.

I first saw Cocteau's films when I went to Paris in 1954 to study French. I was 17-years-old then, and the Paris I saw was the Paris of Cocteau. The bohemian life you see in Orphée was the life that I knew and was attracted to, and those characters were the people I hung out with. I visited painters' studios and saw their work and I went to the Beaux Arts ball and stayed up all night and ran around. So there was a little bridge between his world and my world — a very tenuous one, and it didn't last long because I left Paris soon after and didn't return until 1964 when I stayed three years to study music. By that time that earlier world had been replaced by the world of Godard, Truffaut, and the rest of the New Wave — though it's true that Jean-Louis Barrault was still at the Théatre de I'Odéon, and I remember seeing the premiere of Jean Genet's play The Screens.

In 1960 I studied in Aspen, Colorado with Darius Milhaud, who was certainly part of Cocteau's world, and I always used to ask him about the collaborations he had done in the 20s and 30s because that's what interested me. There was an esthetic, a view and vision about culture that affected me strongly in my teens and twenties and that has remained as a kernel inside me all this time. So when in the early 1990s I got around to doing a version of Orphée I knew exactly what I wanted to do... as I did with La Belle et la Bête. Both of these works are homages to Cocteau, whom I think of as an important twentieth-century artist. In his time he was thought of as being too facile; he wrote poetry and plays and novels, he painted, and he directed movies. And people quite incorrectly thought he was a dilettante.

Today the French are dismissive and protective of him at the same time. But remember, even by 1954 Cocteau was already considered passé. The film Orphée, made in 1950, is an autobiographical work about an older artist displaced by a younger one. And whom is he killed by at the end? His fellow poets. When Orphée asserts to the critic that he's adored by the public, the critic says, "But the public is alone." (A wonderful line!) Orphée was both Cocteau's complaint and his revenge, resurrecting in a contemporary setting the themes of immortality and art and love and placing himself in the center of it, which is something only a person of maturity and skill could have done. Cocteau's various ways of working were actually various ways of looking at the same subject — the nature of the creative process — as if he were walking around it and seeing it from different points of view.

조나단 코트

JC: Don't you think that in La Belle et la Bête, as in many of Cocteau's works, the notion of the "wounded" artist is also at the center of his vision?

필립 글래스
PG: I do. But to me, La Belle is Cocteau's most complete statement about the entire creative process. The film is clearly an allegorical story. We can take it as a fairy tale, a love story, and as a representation of the major preoccupation of Cocteau's life. Many young people today know it only as the "Disney" animated fairy tale (which I haven't seen). But the story interests me less as a fairy tale than as a love story. And as a love story I think it's equal to Romeo and Juliet and to Tristan and Isolde — it's an archetypal love story that goes right to the heart.

Most of all, though, I'm interested in the third aspect, the clue to which lies in the journey that the father takes through the forest. He arrives at the castle — a magnificent, magical place. The woods seem to part in front of him... but the journey becomes a journey through the unconscious to the site of the creative — the artist going into himself.

In the castle we find a half-man/half-beast whose power comes from magic and whose magic comes from five elements: the mirror, the key, the rose, the horse, and the glove. For anyone who knows Cocteau, the mirror is the passageway, the entrance to the otherworld or the world of the transcendent. The rose, of course, is beauty itself. The key is method. The horse represents strength and determination and speed. The glove — I pondered this for a while — represents nobility, the true estate of the artist.

So Cocteau is making an interesting statement here, which is that the artist is the embodiment of humanity's nobility. He requires courage, strength, determination, a vision of transcendence and beauty and a method. But why is he, trapped in the castle? Because, as the Beast knows, only the look of love can save him. That's the sixth element. The film is about the transformation of half-beast/half-human — which is what we are — to the state of the nobility of the artist, which the Beast becomes at the end. Arid the ending in which Beauty and Beast fly away to the kingdom becomes the final transformation of the artist. Before that moment, the Beast knows who he himself is, but he can't be who he is. And isn't that the very state we're in when we're trying to do our creative work? How do we become who we are? Any artist can attest to this problem.

조나단 코트

JC: But isn't all of this just as true for any human being?

필립 글래스
PG: Of course. And in fact the journey of the artist is the journey of everyone. Because we can also look at transformation in a purely spiritual way. But that's not necessarily Cocteau's vision. Even though he may not have seen it that way, we can take it in that direction if we like.

Beauty is the missing link. But the Beast can't be liberated until he gives her up. By giving up love he gains it.

조나단 코트

JC: "Whosoever will lose his life for my sake shall find it."

필립 글래스
PG: Exactly. So she must leave the castle, return to her father, then come back to the Beast with her glance of love. Until that happens he's trapped. And he won't have that until he liberates her and runs the risk of dying. Then love comes back, he becomes blessed by it and is transformed.

조나단 코트

JC: In the movie you see the Beast lying on the ground, dying, just before he's reborn.

필립 글래스
PG: That's right — reborn as the prince, as the artist... All of which is to say that the entire film is really about the father, the film is taking place inside the mind of the father. Maybe this is an extreme way of looking at it, but the movie isn't really about Beauty. Beauty only has to be beauty, she doesn't have to be anything else.

조나단 코트

JC: But she needs courage since she overcomes her initial horror of the Beast when she first sees him.

필립 글래스
PG: That's true. She's courageous and she's a pure person. She is the one who will transmit the glance of love. She's innocent, and she hasn't fallen into the human world the way the of us have. We have to learn and earn compassion, but she has it because of who she is.

To me, the whole action of the story is orchestrated by the Beast. He knows he has the five magic elements, and he's aware of what is missing. So he bewitches the father into coming to the castle. He knows about the father's daughters, he knows Beauty is one of them, and he's determined to get her there.

Now this is where the music actually interacts with the film. I saw that the Beast was playing with the father: "Maybe if your daughter comes she can replace you...", he says slyly. And if you observe how the music works, there's a descending bass line at that point that almost sounds like someone laughing... because I think the Beast is laughing, and I've taken that element and put it into the music. I could have done the scene as a threatening one. But I did it for the humor since it was that side I wanted to bring out. And by doing it that way I tried to suggest the foreknowledge the Beast has of the elaborate mechanism that has to occur to bring about his own transformation.

조나단 코트

JC: This is in contrast to the false, malicious, grating laughter of Beauty's two sisters that we hear at the opening of the film.

필립 글래스
PG: That's right. In those first scenes the music is very light, and you don't know what's going to happen. Cocteau presented us with a problem because the initial set-up of the story is packed into the first ten minutes of the movie — we see the sisters, the brother, the father's boats have been lost at sea — and you don't know what's going on. Only when the father gets on his horse and starts his journey do you feel the piece is really beginning.

When the father returns from his trip and Beauty realizes she has to go to the castle in his place, we have a series of seven or eight scenes focusing on her and the Beast. I had to write not just one or two motifs or themes but many of them — one or two weren't sufficient.

For example, there's a motif for the journey to the castle — you hear it every time the horse appears; then there's one for the actual vision of the castle — the overview of the castle; then another for the moment when Beauty faints and the Beast carries her to the bed — in a sense, that's his falling-in-love theme (to put it in crude terms), that's the music when he sees her; then a passage when she's walking in the woods and he comes towards her with his smoking gloves; then a theme when she spies him drinking the water.. and that's when we start to get into the music that they share, the music of their "relationship": there's music for their walking in the woods, which is their kind of traveling music, it's the music that they go places together with, if I can put it that way, and which returns at the end when they fly off holding hands into the sky.

At the conclusion of the film all of this music returns — the walking-in-the-woods music, the castle music, the "relationship" music. After I'd completed the opera, I decided to go back to the beginning and write an overture because that introductory story material was much too confusing, and I wanted to suggest the emotional and romantic depth of the piece. So I took all my musical themes, strung them out in a kind of Rossini overture-type, manner — take all your tunes and trot them out — but I also meant to give a kind of premonition of what was to come.

조나단 코트

JC: La Belle et la Bête is a French movie, you love French music, you've studied with French music teachers, and in this work your use of whole tone scales and directionless ostinati suggest a bit the mood of operas like Debussy's Pelléas et Mélisande and of Ravel's L'Enfant et les sortilèges.

필립 글래스
PG: I studied with Darius Milhaud and with Nadia Boulanger, and her teacher was Gabriel Fauré... so what can I tell you! It's sometimes said that Americans choose either the French school or the German school — clearly, I choose the former. Because of my inescapable attraction to French culture, it had to be that way. But what's interesting is not how my La Belle sounds like Debussy, but how it doesn't.

When we first see the Beast, we do so in E major and C major — we hear E major triads ringing on the top, followed by C major triads below — and when you put them together you have the whole tone scale and an augmented triad. If you analyze the augmented triad out into its parts, you have two harmonies a major third apart that give you one of the more distant key relationships. Within the world of tonality we're taking two of the more distant relationships and unifying them in a whole tone scale. The reason my music for La Belle sounds different from Debussy, I think, is because of my way of going through the augmented triad to what I think are its sources. For Debussy, tonality was redefined by music free from traditional root movement.

Then there's the rhythmical development that you typically find in my works and that comes from my association with non-Western music, particularly Indian classical music. Unlike Einstein on the Beach, this aspect is no longer the foreground of my new piece, and now appears more in the background. La Belle is filled with compound meters derived from combining rhythms based on 3's and 2's and building overall rhythmic structures based on smaller units... But the heart of the piece is really in the harmonic language we were talking about.

조나단 코트

JC: La Belle et la Bête is particularly striking for the transparency and clarity of its vocal writing.

필립 글래스
PG: The big challenge in opera lies exactly in this. Satyagraha was the first opera in which I began to think of the vocal line as floating and free from its harmonic and rhythmic setting. Now, ten operas later, I've acquired a distinct vocal style of my own along with a real confidence about writing for the voice. In the two Cocteau operas, the vocal line has begun to shine, it draws you into it through the voice, which has acquired a kind of authority it didn't have in the earlier works.

In much twentieth-century opera, there's a fixation on writing disjointed melodic material, as if modern music shouldn't be melodic. God forbid that a melodic line should contain step-wise movement! I'm either on the harmony or not on the harmony. I can be either on one or the other, and once I've decided where I'm going to be, I go there in the simplest way, which is usually step-wise. For me, the setting of the text and the shape of the line are closely connected. What is it one is saying? What is it one is singing? In the old days I tended to write operas in languages I didn't know like Sanskrit and Ancient Egyptian. These days I prefer to write in languages I do know — English, French, Portuguese — because the way the word fits into the context of the sentence will determine a lot about where it will fit into the music.

One has to be careful to avoid casual or unpremeditated resolutions. You have to look at the harmonic situation and the meaning of the words and then you'll find where to place them. It's from Handel that I've learned more than from any other composer for the voice about how to exercise the voice — taking it from its high to its middle to its low range, not leaving it in one part of the voice for too long. So a singer of my recent work can now count on using the whole range of the voice in the course of an evening, which is less tiring and more beautiful and which, in the end, is more expressive. Singers have taught me what they could and could not sing. I asked them and I still ask them.

조나단 코트
필립 글래스의 미녀와 야수는 바그너풍 종합예술작품(Gesamtkunstwerk)의 완벽한 사례인 것처럼 보입니다.

필립 글래스
이 프로젝트의 그 아이디어는 다음과 같은 비전이다. "나는 미녀와 야수에서 사운드 트랙을 제거할 겁니다. 완전히 새로운 오페라 악보를 쓰고, 필름과 음악의 싱크를 맞출 겁니다."
PG: The very idea of the project is the vision: "I'm going to take La Belle et la Bête, eliminate the sound track, write a new fully operatic score and synchronize it with the film." You know, someone has to synchronize the film with the music, and also someone has to do the programming — in this production that someone is the musical director Michael Riesman. And the sound designer Kurt Munkacsi (also the record producer) must translate that into a finished musical result, which must then be brought to the stage by Jedediah Wheeler. People might think we're some kind of technicranks who are just fiddling around with a masterpiece using calculators and computers.

In one or two interviews I have, talked about how I took the film and put a time code on it, timed every line in it, wrote down the libretto (which is not the same as the published one, since I wanted the words that were in the film), I timed every word, I placed it mathematically in the score... and then when I got done, Michael Riesman and I recorded it and put it up against the film and discovered it wasn't accurate enough. So we began using computers to move the vocal line around until it synched with the lips, and then I had to rewrite the music in order to achieve a better synchronization. Then Michael had to teach it all to the singers and they had to learn to do it live.

So first there's the conceptualization in the writing of the piece, and then there's the realization of the piece. What degree of synchronicity becomes acceptable? Do the subtitles appear below or above the screen? (We decided above the screen.)

조나단 코트

JC: As it exists now, the production presents the singers who, when they're not singing directly to the audience, turn around to watch the screen on which they can see their own characters. And that itself is a wonderful conception.

필립 글래스
PG: Charlie Otte, who was Bob Wilson's assistant-stage director in the 1992 version of Einstein on the Beach, set that tip. There are moments when Beauty is on the screen and our Beauty is looking up at her, and I could almost cry. Then there's the scene where the Beast is dying and our Beast is singing, and the two of them together make you realize that this is a music-theater experience, not just a film. There will never be a film of the final, synchronized version of this production. There already is a soundtrack to the original film by Georges Auric, whereas mine is a music-theater work with a film. And I think that the counterpoint between performer and image is wonderful.

조나단 코트

JC: In practice, your production seems to break up and see through the relationship between the mask and the character so that, for example, one inescapably senses the true being of the Beast as one listens to his inner voice.

필립 글래스
PG: I said to someone that my La Belle wouldn't be a deconstructed version of the movie, but in a way it is. We're peeling away layers of illusion, and when we do that it enriches our experience.

조나단 코트
마침내 필연적인 마지막 질문을 드리겠습니다. 장 콕토가 필립 글래스 버전의 미녀와 야수를 좋아할 거라 생각하십니까?

필립 글래스
언젠가 젊은 영국 기자가 장 주네(Jean Genet)를 인터뷰한 적이 있었는데, 그 이야기를 알고 있어요? 기자가 말했습니다. "장 주네 씨, 이런 이야기가 있던데요. 당신이 아주 어린 소년이었을 때, 기차에서 체포됐었죠. 당신이 티켓을 갖고 있지 않았기 때문에 말입니다. 그리고 소년원(reform school)에 가게 되셨죠. 만일 그 사건이 일어나지 않았다면, 당신의 삶은 어떻게 바뀌었을까요?" 장 주네는 긴 시간 침묵하더니, 이윽고 기자에게 이렇게 말했습니다. "기자는 신을 믿어요?" 그러자 기자는 다음과 같이 중얼거렸습니다. "어떤 날은 믿지 않고, 어떤 날은 믿습니다." 장 주네는 조금 사납게 소리쳤습니다. "좋아요, 신에게 물어 봐요!"[4]

[1] pair of clashed cymbals[2] 야수의 성으로 데려다주는 말의 이름. '멋지다'는 뜻을 갖고 있다.[3] 진귀한 보물이 가득히 숨겨져 있는 곳을 말한다.[4] 우문현답이다. 장 콕토가 필립 글래스 버전의 미녀와 야수를 좋아할지, 안 좋아할지 그 누가 알겠는가. 또한 좋아할 거라고 대답하든 싫어할 거라 대답하든, 필립 글래스는 장 콕토에게 결례를 하게 된다. 필립 글래스의 기지가 대단하다.