KARANTİNADA KLASİK CANLANIŞ: SOPHOCLES’İN ANTIGONE’SİNE ANTIGONENOW İLE HIBRİT BİR YANIT

Year 2021, Issue: 37, 105 - 114, 29.03.2021

Tuğba Aygan

https://doi.org/10.47571/ataunigsfd.821185

Abstract

Tiyatrodan alınan hazzın büyük oranda bir oyuna yerinde tanık olmaktan geçtiği su götürmez. Öte yandan, tiyatro eserinin uzaktaki seyirciye ulaşılabilir kılınmasında dijital araçların rolü de yadsınamaz. Covid-19’un vurduğu günümüz dünyasında tiyatro çalışanları da tiyatronun varlığını sürdürebilmesini sağlamanın bir yolu olarak dijitalizme başvurmaktadır. California Üniversitesi Davis Tiyatro ve Dans Bölümünün tamamı kadın oyunculardan oluşan ve Sophocles’in Antigone’sinin hibrit bir uyarlaması olan AntigoneNOW oyunu, mevcut durumu dijital yollarla başarılı bir şekilde irdeleyen ve cevaplayan girişimlerden biridir. Çevrimiçi sergilenen oyun dünyanın farklı köşelerinden ve çeşitli kültürlerden on iki kadın oyuncunun kendilerini telefonları, bilgisayarları ve iPadleri ile kaydettikleri videoların yönetmenler tarafından bir araya getirilip düzenlenmesiyle oluşturulmuştur. Uyarlama, karantina döneminde tiyatro hakkında fikir verirken dünyanın her bir köşesinde isimlendirilmeyen sorunlara ve bunların karşısında çeşitli insanların ortak çabasına içgörüler önerir.

Keywords

karantina tiyatrosu, AntigoneNOW, Uyarlama, Tiyatro ve Covid 19, Dijitalizm

CLASSICAL REVIVAL IN LOCKDOWN: A HYBRID RESPONSE TO SOPHOCLES’ ANTIGONE WITH ANTIGONENOW

Abstract

It is hard to deny that the pleasure of theatre substantially lies in witnessing a performance in situ. It is equally impossible to eschew the role of digital means in rendering a theatre work accessible to far-away audiences. In the present world hit by Covid-19, theatre practitioners have resorted to digitalism as one solution to ensure theatre’s survival. The University of California (UC) Davis Theatre and Dance Department’s all-female cast AntigoneNOW, a hybrid adaptation of Sophocles’ Antigone, is one of those enterprises that successfully reflected on and responded to the world’s current state through digital means. Twelve culturally diverse female actors from different parts of the world filmed themselves with their phones, iPads, and computers; then all of the recordings brought together and edited by directors of the production. This online adaptation while exemplifying theatre in lockdown, offers insights into the nameless troubles across the globe and the common struggle of a variety of people in their faces.

Keywords

AntigoneNOW, Adaptation, Theatre and Covid-19, Lockdown theatre, Digitalism

References

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