POSTMODERN ELEMENTS IN TOM STOPPARD’S THE REAL INSPECTOR HOUND AND FERHAN ŞENSOY’S FİŞNE PAHÇESU: A COMPARISON

Yıl 2023, Cilt: 12 Sayı: 2, 257 - 274, 31.12.2023

Kenan Koçak , Hanife Zeynep Cihan Demir

https://doi.org/10.54282/inijoss.1358464

Öz

Postmodernism is a stream of thought that consists of a complex, multi-layered and multifaceted collection of phenomena, behaviours, and products. Postmodernism, which has different definitions by many academics, still exists as a concept that is not clearly defined today. It is possible to say it is an era of new thinking about literature and theatre. Postmodern drama emerged in the second half of the twentieth century when postmodernism began to prevail. It includes the self-awareness and self-consciousness of the society that changed with the conditions of the period. In this context, Tom Stoppard and Ferhan Şensoy, two successful playwrights who used postmodern features in their plays, have gained respect in our country and the world. This study is based on the idea that there is a close relationship between the styles of both playwrights. Thus, the postmodern techniques used by the two authors in their plays under consideration are examined. Accordingly, this article aims to define postmodern drama and the methods used in the theatre to show how postmodern elements such as metadrama, parody, cultural reference, wordplay, and absurdity in Tom Stoppard's The Real Inspector Hound and Ferhan Şensoy's Fişne Pahçesu.

Anahtar Kelimeler

Postmodern Drama, Tom Stoppard, Ferhan Şensoy, The Real Inspector Hound, Fişne Pahçesu

TOM STOPPARD’IN GERÇEK MÜFETTİŞ HOUND’UNDA VE FERHAN ŞENSOY’UN FİŞNE PAHÇESU’NDE POSTMODERN ELEMENTLER: BİR MUKAYESE

Öz

Postmodernizm, karmaşık, çok katmanlı ve çok yönlü bir olgular, davranışlar ve ürünler bütününden oluşan bir düşünce akımıdır. Birçok akademisyen tarafından farklı tanımları yapılan postmodernizm, günümüzde hala net olarak tanımlanamayan bir kavram olarak varlığını sürdürmektedir. Postmodernizmin edebiyat ve tiyatroya yönelik yeni bir düşünce çağı olduğunu söylemek mümkündür. Postmodern tiyatro, postmodernizmin hüküm sürmeye başladığı yirminci yüzyılın ikinci yarısında ortaya çıkmıştır. Dönemin koşullarıyla birlikte değişen toplumun öz farkındalığını ve öz bilincini içerir. Bu bağlamda oyunlarında postmodern özellikleri kullanan iki başarılı oyun yazarı Tom Stoppard ve Ferhan Şensoy ülkemizde ve dünyada saygınlık kazanmışlardır. Bu çalışma, her iki oyun yazarının üslupları arasında yakın bir ilişki olduğu düşüncesine dayanmaktadır. Böylece iki yazarın oyunlarında kullandıkları postmodern teknikler incelenmiştir. Bu doğrultuda makale, postmodern tiyatroyu ve tiyatroda kullanılan yöntemleri tanımlayarak Tom Stoppard'ın The Real Inspector Hound ve Ferhan Şensoy'un Fişne Pahçesu oyunlarında metadrama, parodi, kültürel gönderme, kelime oyunu ve absürdite gibi postmodern unsurların nasıl kullanıldığını göstermeyi amaçlamaktadır.

Anahtar Kelimeler

Postmodern Drama, Tom Stoppard, Ferhan Şensoy, Gerçek Müfettiş Hound, Fişne Pahçesu

Kaynakça

• Abel, L. (1966). Metatheatre: A new view of dramatic form. Hill and Wang. Bertens, H. (1994). The idea of the postmodern: A history. Routledge Boireau, N. (1997). Tom Stoppard's metadrama: The haunting repetition. In N. Boireau (Ed.), Drama on drama: Dimensions of theatricality on the contemporary British stage (pp. 136-151). Palgrave Macmillan. Britannica (n.d.) Coup d’etat. In Britannica. Retrieved August 8, 2023, from https://www.britannica.com/topic/coup-detat
• Britannica (n.d.) Essex. In Britannica. Retrieved August 8, 2023, from https://www.britannica.com/place/Essex-Anglo-Saxon-kingdom-England
• Cambridge Dictionary (n.d.). (Like) water off a duck’s back. In Cambridge Dictionary. Retrieved March 16, 2023 from https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/ingilizce/like-water-off-a-duck-s-back Cambridge Dictionary (n.d.). Éclat. In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/dictionary/english/eclat Cambridge Dictionary (n.d.). Élan. In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/dictionary/english/elan?q=%C3%A9lan
• Cambridge Dictionary (n.d.). Felicity. In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/ingilizce/felicity Cambridge Dictionary (n.d.). Get a grip (on yourself). In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/ingilizce/get-a-grip-on-yourself
• Cambridge Dictionary (n.d.). Have a skeleton in the cupboard. In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/learner-english/have-a-skeleton-in-the-cupboard
• Cambridge Dictionary (n.d.). He who laughs last laughs longest/best. In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/ingilizce/he-who-laughs-last-laughs-longest-best Cambridge Dictionary (n.d.). Hound. (2022, March 7). In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/ingilizce/hound
• Cambridge Dictionary (n.d.). Tittle-tattle. In Cambridge Dictionary. Retrieved August 8, 2023, from https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/ingilizce/tittle-tattle
• Collins English Dictionary (n.d.). Cynthia. In Collins English Dictionary. Retrieved August 8, 2023, from https://www.collinsdictionary.com/dictionary/english/cynthia
• Chekhov, A. (2015). The Cherry Orchard (R. Nelson, R. Pevear, & L. Volokhonsky, Trans.). Theatre Communications Group. Christie, A. (1952). The Mousetrap. Samuel French Ltd.
• Hudson, R., Itzin, C., & Trussler, S. (1994). Ambushes for the audience: Towards a high comedy of ideas. In P. Delaney (Ed.), Tom Stoppard in conversation (pp. 51-72). University of Michigan Press.
• Esslin, M. (1961). The theatre of the absurd. Anchor Books.
• Gussow, M. (1996). Conversations with Stoppard. Grove Press.
• Hornby, R. (1986). Drama, metadrama and perception. Bucknell University Press.
• Hunter, J. (2000). Tom Stoppard. Faber & Faber.
• Hutcheon, L. (1978). Parody without ridicule: Observations on modern literary parody. Canadian Review of Comparative Literature/ Revue Canadienne de Littérature Comparée, 5 (2), 201–211.
• Hutcheon, L. (1989). Historiographic metafiction: Parody and intertextuality of history. In P. O’Donnell, & R. C. Davis (Eds.), lntertextuality and contemporary American fiction (pp. 3-32). John Hopkins University Press.
• Jenkins, A. (2008). The theatre of Tom Stoppard. Cambridge University Press.
• Keshavarz, M. (2012). Beckett’s metatheatrical philosophy: A postmodern tendency regarding Waiting for Godot and Endgame. Mediterranean Journal of Social Sciences, 3, 137–144.
• Koçak, K. (2019). Parody and mystery in Tom Stoppard’s The Real Inspector Hound and Jumpers. KARE, 6, 88-109.
• Lexico Dictionaries (n.d). Parody. In Lexico Dictionaries. Retrieved June 15, 2023, from https://www.lexico.com/definition/Parody Our story (n.d.). Newcastle Theatre Royal. Retrieved March 15, 2023, from https://www.theatreroyal.co.uk/about-us/our-story/
• Pavis, P. (1991). Theatre at the crossroads of culture (L. Kruger, Trans.). Routledge.
• Rose, M. A. (1993). Parody: Ancient, modern and post-modern. Cambridge University Press.
• Şensoy, F. (1999). Fişne Pahçesu. Ortaoyuncular
• Stoppard, T. (1996). The Real Inspector Hound. In Plays 1 (pp. x-x). Faber & Faber.
• Yedekçi, E. (2010). Endless pursuit reality through metadramatic devices in Tom Stoppard’s plays Rosencrantz and Guildenstern Are Dead, The Real Inspector Hound and Travesties [Unpublished master’s thesis]. Middle East Technical University.