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Martin Crimp’in No One Sees the Video Adlı Oyununda Psikopolitika

Year 2024, Volume: 18 Issue: 1, 137 - 147, 30.06.2024
https://doi.org/10.47777/cankujhss.1452306

Abstract

Byung-Chul Han, felsefe, kültür ve teknolojinin kesişimi üzerine yaptığı çalışmalarla tanınan çağdaş bir Güney Koreli-Alman filozoftur. Yorgunluk toplumu, şeffaflık toplumu, palyatif toplum ve enfokrasinin yanı sıra Han'ın temel kavramlarından biri de psikopolitikadır. Psikopolitika, egemen sınıfların bir topluluk içindeki bireysel davranışları daha iyi anlamak amacıyla insan psikolojisi üzerinde siyasal ve ekonomik kontrol uygulamak için kullandıkları yöntem ve stratejileri ifade eder. Ayrıca, kişisel sorumluluk ve üretkenliği vurgulayan kapitalizmin baskıcı yapıların içselleştirilmesine ve kolektif direnişin erozyona uğramasına nasıl yol açtığını ortaya koyar. Martin Crimp tiyatrosu yirminci yüzyıl sonu geç kapitalizmi ile yirmi birinci yüzyıl başı neoliberalizminin kesiştiği noktada konumlanmaktadır. Berlin Duvar'ının yıkılışı sonrası dönemde, geç kapitalizm üzerine yazılmış en seçkin oyunlardan biri olan No One Sees the Video'da Martin Crimp, Byung-Chul Han'ın da belirttiği gibi, psiko-iktidarın kontrolü altında çürümekte olan bir dünya resmeder; kapitalizmin dayattığı tüketim bağımlılığının bireyler üzerindeki etkisini incelikle gösterir ve bu süreçteki insan ruhunun rolünü vurgular. Bu çalışmanın amacı Martin Crimp'in No One Sees the Video oyunundaki psikopolitika tasvirini incelemektir.
Anahtar Kelimeler: Çağdaş Britanya tiyatrosu, Martin Crimp, No One Sees the Video, Byung-Chul Han, Psikopolitika

References

  • Agusti, C. E. (2013). Martin Crimp’s Theatre: Collapse as Resistance to Late Capitalist Society, De Gruyter.
  • Angelaki, V. (2023). Martin Crimp’s Power Plays: Intertextuality, Sexuality, Desire, Routledge.
  • Angelaki, V. (2017). Social and Political Theatre in 21st-Century Britain: Staging Crisis, Bloomsbury.
  • Crimp, M. (2005). Martin Crimp: Plays Two. Faber and Faber.
  • Han, B.C. (2022). Infocracy: Digitalization and the Crisis of Democracy. Translated by Daniel Steuer. Polity Press.
  • Han, B. C. (2021). The Palliative Society. Translated by Daniel Steuer. Polity.
  • Han, B. C. (2017a). Psychopolitics: Neoliberalism and New Technologies of Power. Translated by Erik Butler. Verso.
  • Han, B. C. (2017b). The Agony of Eros. Translated by Erik Butler. MIT Press.
  • İlter, S. (2013). Mediatized Dramaturgy: Formal, Critical and Performative Responses to Mediatisation in British and Irish Plays Since the 1990s. PhD Thesis. University of Sussex.
  • Sierz, A. (2006). The Theatre of Martin Crimp. Methuen Drama.
  • Zimmermann, H. (2003). “Images of Woman in Martin Crimp's Attempts on Her Life.” European Journal of English Studies, 7.1, 2003, pp. 69-85.

Psychopolitics in Martin Crimp's No One Sees the Video

Year 2024, Volume: 18 Issue: 1, 137 - 147, 30.06.2024
https://doi.org/10.47777/cankujhss.1452306

Abstract

Byung-Chul Han is a contemporary South Korean-German philosopher known for his work on the intersection of philosophy, culture, and technology. Along with the burnout society, the transparency society, the palliative society, and the infocracy, one of his essential concepts is psychopolitics, which refers to the methods and strategies employed by ruling classes to exert political and economic control over human psychology to better understand individual behaviour within a community. It explores how capitalism, emphasizing personal responsibility and productivity, has led to the internalization of oppressive structures and the erosion of collective resistance. Martin Crimp's theatre is at the confluence of late twentieth-century capitalism and early twenty-first-century neoliberalism. In No One Sees the Video, one of the most distinguished plays ever written in the post-wall period on late capitalism, Martin Crimp portrays a world in decay under the control of psycho-power, as Byung-Chul Han pinpoints. He carefully shows the impact of consumerism addiction on individuals imposed by capitalism, highlighting the role of the human psyche. The purpose of this study is to investigate Martin Crimp's portrayal of psychopolitics in No One Sees the Video.

References

  • Agusti, C. E. (2013). Martin Crimp’s Theatre: Collapse as Resistance to Late Capitalist Society, De Gruyter.
  • Angelaki, V. (2023). Martin Crimp’s Power Plays: Intertextuality, Sexuality, Desire, Routledge.
  • Angelaki, V. (2017). Social and Political Theatre in 21st-Century Britain: Staging Crisis, Bloomsbury.
  • Crimp, M. (2005). Martin Crimp: Plays Two. Faber and Faber.
  • Han, B.C. (2022). Infocracy: Digitalization and the Crisis of Democracy. Translated by Daniel Steuer. Polity Press.
  • Han, B. C. (2021). The Palliative Society. Translated by Daniel Steuer. Polity.
  • Han, B. C. (2017a). Psychopolitics: Neoliberalism and New Technologies of Power. Translated by Erik Butler. Verso.
  • Han, B. C. (2017b). The Agony of Eros. Translated by Erik Butler. MIT Press.
  • İlter, S. (2013). Mediatized Dramaturgy: Formal, Critical and Performative Responses to Mediatisation in British and Irish Plays Since the 1990s. PhD Thesis. University of Sussex.
  • Sierz, A. (2006). The Theatre of Martin Crimp. Methuen Drama.
  • Zimmermann, H. (2003). “Images of Woman in Martin Crimp's Attempts on Her Life.” European Journal of English Studies, 7.1, 2003, pp. 69-85.
There are 11 citations in total.

Details

Primary Language English
Subjects British and Irish Language, Literature and Culture
Journal Section Articles
Authors

Ahmet Gökhan Biçer 0000-0002-4249-7495

Publication Date June 30, 2024
Submission Date March 13, 2024
Acceptance Date May 24, 2024
Published in Issue Year 2024 Volume: 18 Issue: 1

Cite

APA Biçer, A. G. (2024). Psychopolitics in Martin Crimp’s No One Sees the Video. Cankaya University Journal of Humanities and Social Sciences, 18(1), 137-147. https://doi.org/10.47777/cankujhss.1452306

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