본고는 실러의 드라마 ≪발렌슈타인의 진영≫의 서사적 구조와 기능을 분석하기 위한 것이다. ≪진영≫은 30년 종교전쟁을 소재로 한 실러의 첫 후기드라마작품으로 `현실의 모사가 아니라 현실에 기초한 전망 제시적인 묘사`를 서사적 기법들을 동원해 보여주고 있다는 점에서 이전 작품들과는 확연히 구분된다. 실러의 이러한 변화의 바탕에는 현실변혁에 대한 작가의 의지가 곧 관객의 의지로 이어지지 않는다는 깨달음과 역사적 현실에 대한 인식에서 나온 `인간의 미적 교육`의 필요성이 자리하고 있다.

This paper analyzes the structure and function of Schiller`s ≪Wallenstein`s Camp≫ as the first late drama (written 1789) from the perspective of the concept of Epic Theatre. In Schiller`s later period, he thought that a play should not be a copy of reality itself or a direct expression of the will of reality change, but should instead be a representation of realty in order to bring the audience to aesthetic self-reflection and a critical view of the reality. For this purpose, Schiller reproduced from the perspective of the “aesthetic condition” the historical reality during the Thirty Years` War on stage in ≪Wallenstein`s Camp≫. In the < prologue >, the play shows spectators the result of sixteen years of misery and destruction, the peak of the Thirty Years` War. But when the play begins, the characters are drinking and happily singing in a portable cantina in the center of the stage. The stage looks like a pleasant playground. The soldiers are enthusiastic about their commander, and praise his absolute power, which allows them to destroy and plunder. In addition, they call their illegal destructive behavior free life. They also praise the war for improving their own lives despite its toll on the civilian population. Still, a peasant complains that the troops steal from him, and a cantina woman with the army reviles a solder who betrayed her trust in him. A monk satirizes the soldiers` brutal and spiteful lives, in accordance with the rhyme of the words. So, there is no dramatic event in the traditional sense. The drama consists of only eleven scenes without distinct acts and takes an open form without beginning or end. The war that ruins lives of men and distorts humanity is only communicated through conversations or stories between the characters and as past events. This shows that the play should not cause the spectator to identify emotionally with the characters or action taking place before them, but should instead provoke rational self-reflection and a critical view of the action on stage. To this end, Schiller employed techniques such as dance and song, the play of words, the epic form, and the comedy elements. Schiller hoped his audiences would see that the realty of The Thirty Years` War depicted on the stage is similar to the modern realty analyzed in ≪Letters Upon The Aesthetic Education of Man≫, and reflect on their own lives so that they are transmuted into the `aesthetic subject`. In this sense, ≪Wallenstein`s Camp≫ can be seen as a means of human aesthetic education.