Sıradanlaşmaya Karşı Direniş: The Wooster Group

Yıl 2017, Sayı: 38, 139 - 150, 18.12.2017

Elif Baş

https://doi.org/10.21497/sefad.376820

Öz

Yaklaşık otuz beş yıldır çalışmalarını sürdüren The Wooster Group, dünyanın en iddialı ve radikal tiyatro topluluklarından biridir. Bu çalışmada, Sakonnet Point, Rumstick Road ve L.S.D. (… Just the High Points…) oyunlarından yola çıkarak The Wooster Group’un merkez kavramını nasıl sorunsallaştırdığı, prova sürecinin oyunun bir parçası haline nasıl getirildiği ve izleyiciye yeni anlamlar ürettiren çok anlamı yapının nasıl oluşturulduğu incelenir. Metinlerde yatan çelişkileri ya da ideolojileri ortaya koymak için The Wooster Group’un metinlere nasıl yaklaştığı ele alınır. Son olarak, grubun oyuncu ve karakter arasındaki ilişkiye nasıl yeni bir bakış açısı getirdiği Willem Dafoe üzerinden örneklendirilir. Özetle, The Wooster Group’un pek çok açıdan Jacques Derrida’nın yapısöküm yöntemine sahnede nasıl hayat verdiği ortaya konur.

Anahtar Kelimeler

he Wooster Group, yapısöküm, avangart tiyatro, deneysel tiyatro

Organized Resistance against Norms: The Wooster Group

Öz

The Wooster Group has been one of the most radical theatre companies of the world in the past thirty five years. This article examines how The Wooster Group abandons the idea of establishing a center, and how they work as an ensemble in creating the text. It also demonstrates how the rehearsal process becomes the text itself and how their performances generate multiple meanings. Moreover, it explores the ways the group deciphers the discrepancies that permeate the text. Finally it takes a look at their idea of acting, the relationship between the actor and the character through Willem Dafoe. Overall the article exemplifies how their performances reflect the deconstructionist ideas of Jacques Derrida.

Anahtar Kelimeler

The Wooster Group, deconstruction, avant-garde theatre, experimental theatre

Kaynakça

• ARONSON, Arnold (1975). “Sakonnet Point”. The Drama Review 19 (4): 27-35.
• ARONSON, Arnold (1985). “The Wooster Group’s ‘L. S. D. (… Just the High Points…)”. The Drama Review 29 (2): 65-77.
• ARONSON, Arnold (2000). American Avant-garde Theatre: a History. London: Routledge.
• AUSTLANDER, Philip (2002). “Task and Vision: Willem Dafoe in LSD.”. Acting (re)considered: Theories and Practices. ed. Philip Zarrilli, London: Routledge.
• BARRY, Peter (2002). Beginning Theory: An Introduction to Literary and Cultural Theory. Manchester: Manchester UP.
• BIERMAN, James (1979). “Three Places in Rhode Island”. The Drama Review 23 (1): 13-30.
• BOTTOMS, Stephen J. (2004). “Poor Theatre: A Series of Simulacra (review)”. Theatre Journal 56 (4): 693-695.
• CHAMPAGNE, Lenora (1981). “Always Starting Anew: Elizabeth LeCompte”. The Drama Review 25 (39): 19-28.
• DUNKELBERG, Kermit (2005). “Confrontation, Simulation, Admiration: The Wooster Group's Poor Theater”. TDR: The Drama Review 49 (3): 43-57.
• ERICKSON, Jon (1990). “Appropriation and Transgression in Contemporary American Performance: The Wooster Group, Holly Hughes, and Karen Finley”. Theatre Journal 42 (2): 225-236.
• GRAY, Spalding (1978). “Playwright’s Notes”. Performing Arts Journal 3 (2): 87- 91.
• GRAY, Spalding (1979). “About Three Places in Rhode Island”. The Drama Review 23 (1): 31- 42.
• MARRANCA, Bonnie (2003). “The Wooster Group: A Dictionary of Ideas”. PAJ: A Journal of Performance and Art 25 (2): 1-18.
• RABKIN, Gerald (1985). “Is There a Text on This Stage?”. Performing Arts Journal 9 (2): 142- 159.
• SAVRAN, David (1988). Breaking the Rules: The Wooster Group. New York: Theatre Communications Group.
• SAVRAN, David (2005). “The Death of the Avantgarde”. The Drama Review 49 (3): 10-42.
• SAVRAN, David (2007). “The Wooster Group, Arthur Miller and The Crucible”. in Bloom’s Modern Critical Views: Arthur Miller. e d. H arold B loom. New Y ork: C helsea H ouse Publishers.