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DİSİPLİNCİ İKTİDARIN ELEŞTİREL BİR DEĞERLENDİRMESİ OLARAK SARAH KANE'İN CLEANSED ADLI OYUNU

Year 2017, Volume: 57 Issue: 1, 274 - 288, 01.01.2017

Abstract

1990'lı yılların İngiliz tiyatrosunun en önemli oyun yazarları arasında anılan Sarah Kane'in kaleminden çıkan Cleansed 1998 adlı oyun gerek aşırı cinsellik ve şiddet görüntüleri içerdiği gerekse son derece belirsiz ve anlaşılması güç bir anlatı yapısı izlediği için sert eleştirilere maruz kalmıştır. Bu oyunda, Kane yarattığı üniversite kampüsü mekanını daha ziyade mahkumlarının sürekli olarak merkezi bir karakter tarafından izlendiği bir hapishane gibi kullanır. Oyunun karakter ve diyalog gibi diğer dramatik öğelerini tanımlarken de yine belirsizlik ve yetersizliği anlatmaya yarayacak bir kelime dağarcığı gerekir. Bu makale Kane'in belirsizliği bir anlatı taktiği olarak kullandığını ve iletmek istediği mesajı tek bir kurumla sınırlamayarak daha büyük ölçekli bir zeminde tartışmaya sunduğunu iddia eder. Kane disiplinci iktidarı eleştirirken merkeze oturttuğu bir karakteri yani Tinker'ı kullanır, onu oyundaki diğer karakterlerle iletişim halinde gösterir. Bu karakterin diğerleriyle olan etkileşimine odaklanmak suretiyle, bu makale ayrıca Tinker'ın oyunda, Michel Foucault'nun alanında çığır açan kitabı, Hapishanenin Doğuşu'nda 1975 yorumladığı şekliyle bir panoptikon metaforu olarak ortaya çıktığı görüşünü ileri sürer.

References

  • Armitstead, Claire. “No Pain, No Kane.” Guardian. 29 April 1998.
  • Bentham, Jeremy. The Panopticon Writings. Ed. Miran Božovič. London and New York: Verso, 1995.
  • Billington, Michael. “Moral Rage and Romantic Yearning.” Guardian. 7 May 1998.
  • Christopher, James. “Rat with Hand Exits Stage Left.” Independent. 9 May 1998.
  • De Vos, Laurens, and Graham Saunders. Sarah Kane in Context. Manchester and New York: Manchester University Press, 2010.
  • Foucault, Michel. Discipline and Punish: The Birth of Prison. Trans. Alan Sheridan. New York: Vintage, 1995.
  • Kane, Sarah. Cleansed. London: Methuen, 1998.
  • ---. Complete Plays. London: Methuen, 2001.
  • McAvinchey, Caoimhe. Theatre & Prison. Basingstoke and New York: Palgrave Macmillan, 2011.
  • Ravenhill, Mark. “Obituary: Sarah Kane.” Independent. 23 February 1999: 6.
  • ---. “Suicide Art? She’s better than that.” Guardian. 12 October 2005.
  • Rebellato, Dan. “Brief Encounter Platform.” Public interview with Sarah Kane. Royal Holloway College, London. 3 November 1998.
  • Saunders, Graham. About Kane: The Playwright and the Work. London: Faber and Faber, 2009.
  • Sierz, Aleks. In-Yer-Face Theatre: British Drama Today. London: Faber and Faber, 2001.
  • Spencer, Charles, “Severed Limbs don’t Make you Cutting-edge.” Telegraph. 9 May 1998.
  • Stephenson, Heidi, and Natasha Langridge. Rage and Reason: Women Playwrights on Playwriting. London: Methuen, 1997.
  • Tinker, Jack. “This Disgusting Feast of Filth.” Daily Mail. 19 January 1995: 5.
  • “Tinker.” Oxford English Dictionary. Oxford English Dictionary Online. Web. 10 November 2016.
  • Urban, Ken. “An Ethics of Catastrophe: The Theatre of Sarah Kane.” PAJ 23:3 (2001): 36-46.
  • Wandor, Michelene. Post-war British Drama: Looking Back in Gender. London: Routledge, 2001.

SARAH KANE'S CLEANSED AS A CRITICAL ASSESSMENT OF DISCIPLINARY POWER

Year 2017, Volume: 57 Issue: 1, 274 - 288, 01.01.2017

Abstract

Written by Sarah Kane, who is regarded as one of the most prominent British dramatists of the 1990s, Cleansed 1998 has been harshly criticised for its content of extreme images of sexuality and violence, as well as for the high level of obscurity and incomprehensibility in its narrative structure. In this play, Kane treats the university campus setting like a prison with inmates being constantly watched by a central character. It is also necessary to use a vocabulary for obscurity and insufciency to be able to dene the other dramatic elements of the play such as characters and dialogue. This essay argues that Kane exploits obscurity as a narrative ploy and makes a wider statement by not restricting the scope of her message to a critique of a single institution. In criticising disciplinary power, Kane uses a central character, Tinker, and shows him in communication with the other characters in the play. Focusing on Tinker's interactions with the others, this essay also discusses that Tinker appears as a metaphor of panopticism as construed by Michel Foucault in his landmark book, Discipline and Punish 1975 .

References

  • Armitstead, Claire. “No Pain, No Kane.” Guardian. 29 April 1998.
  • Bentham, Jeremy. The Panopticon Writings. Ed. Miran Božovič. London and New York: Verso, 1995.
  • Billington, Michael. “Moral Rage and Romantic Yearning.” Guardian. 7 May 1998.
  • Christopher, James. “Rat with Hand Exits Stage Left.” Independent. 9 May 1998.
  • De Vos, Laurens, and Graham Saunders. Sarah Kane in Context. Manchester and New York: Manchester University Press, 2010.
  • Foucault, Michel. Discipline and Punish: The Birth of Prison. Trans. Alan Sheridan. New York: Vintage, 1995.
  • Kane, Sarah. Cleansed. London: Methuen, 1998.
  • ---. Complete Plays. London: Methuen, 2001.
  • McAvinchey, Caoimhe. Theatre & Prison. Basingstoke and New York: Palgrave Macmillan, 2011.
  • Ravenhill, Mark. “Obituary: Sarah Kane.” Independent. 23 February 1999: 6.
  • ---. “Suicide Art? She’s better than that.” Guardian. 12 October 2005.
  • Rebellato, Dan. “Brief Encounter Platform.” Public interview with Sarah Kane. Royal Holloway College, London. 3 November 1998.
  • Saunders, Graham. About Kane: The Playwright and the Work. London: Faber and Faber, 2009.
  • Sierz, Aleks. In-Yer-Face Theatre: British Drama Today. London: Faber and Faber, 2001.
  • Spencer, Charles, “Severed Limbs don’t Make you Cutting-edge.” Telegraph. 9 May 1998.
  • Stephenson, Heidi, and Natasha Langridge. Rage and Reason: Women Playwrights on Playwriting. London: Methuen, 1997.
  • Tinker, Jack. “This Disgusting Feast of Filth.” Daily Mail. 19 January 1995: 5.
  • “Tinker.” Oxford English Dictionary. Oxford English Dictionary Online. Web. 10 November 2016.
  • Urban, Ken. “An Ethics of Catastrophe: The Theatre of Sarah Kane.” PAJ 23:3 (2001): 36-46.
  • Wandor, Michelene. Post-war British Drama: Looking Back in Gender. London: Routledge, 2001.
There are 20 citations in total.

Details

Primary Language English
Journal Section Research Article
Authors

Yeliz Biber Vangölü This is me

Publication Date January 1, 2017
Published in Issue Year 2017 Volume: 57 Issue: 1

Cite

APA Biber Vangölü, Y. (2017). SARAH KANE’S CLEANSED AS A CRITICAL ASSESSMENT OF DISCIPLINARY POWER. Ankara Üniversitesi Dil Ve Tarih-Coğrafya Fakültesi Dergisi, 57(1), 274-288.

Ankara University Journal of the Faculty of Languages and History-Geography

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