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Sarah Kane’in Blasted ve Cleansed oyunlarında erkek egemen düzeni sorgulayan bir araç olarak şiddet

Year 2021, Issue: Ö9, 401 - 408, 21.08.2021
https://doi.org/10.29000/rumelide.985606

Abstract

Yüzevurumcu tiyatronun önemli temsilcilerinden Sarah Kane, teatral oyunları vasıtasıyla toplumsal sorunlara karşı eşi görülmemiş bir şekilde sesini yükseltmektedir ve kadınların toplumda ikinci plana atılması yazarın üzerinde durduğu temel sorunlardan biridir. Kane oyunlarında şiddet öğeleri kullanarak ataerkil baskıya seyircilerin dikkatini çekmektedir. Mevcut çalışma, Blasted ve Cleansed oyunlarını feminist teoriler ışığında incelenmekte ve yazarın ataerkil sistemde kadınların değersizleştirilmesine getirdiği eleştirileri tartışmaktadır. Bu makale yüzevurumcu tiyatro ve kadın yazarların durumu ile ilgili artalan bilgisi verdikten sonra Blasted oyunundaki ikili karşıtlıkların, kadınlara uygulanan zulmün ortaya konulmasındaki işlevini irdelemektedir. Ayrıca çalışma, oyunun ana karakterleri arasındaki etkileşimlere odaklanarak yazarın inşa edilmiş toplumsal cinsiyet rollerini şiddet vasıtasıyla nasıl sorguladığını tartışmaktadır. Bunun yanı sıra mevcut makale Cleansed oyunundaki Tinker karakterinin eylemlerini analiz ederek ataerkil sistemin şiddetten beslenen normatif gücünü ve kadınların nesneleştirilmesini incelemektedir. Her şeyden önemlisi bu çalışma, Kane’in kullandığı şiddet öğeleri aracılığıyla erkek egemen düzende kadınların değersizleştirilmesine meydan okuduğunu vurgulamaktadır.

References

  • Aston, E., & Reinelt, J. (2000). A century in view: From suffrage to the 1990s. In E. Aston & J. Reinelt (Eds.), The Cambridge companion to modern British playwrights (pp. 1-20). Cambridge University Press.
  • Aston, E. (2003). Feminist views on the English stage women playwrights, 1900-2000.
  • Cambridge University Press.................................................................
  • Beauvoir, S. (1956). The second sex. H. M. Parshley (Ed.). Jonathan Cape.
  • Biçer, A. G. (2011). Depiction of violence onstage: Physical, sexual and verbal dimensions of violence in Sarah Kane’s experiential theatre. The Journal of International Social Research, 4(16), 81-88.
  • Butler, J. (1989). Performative acts and gender constitution: An essay in phenomenology and feminist theory. Theatre Journal, 40(4), 519-531.
  • ---. (1999) Gender trouble. Routledge. ....................................................
  • Donne, J. (1959). XVII .Meditations. Devotions upon emergent occasions: Together with death's duel. (pp. 107-110). Ann Arbor Paperbacks
  • Dworkin, A. (1989). Pornography: Men possessing women. Penguin Group.
  • Edgar, D. (Ed.). (1999). State of play: Playwrights on playwriting. Faber & Faber.
  • Henderson, H. (2007). Feminism, Foucault, and rape: A theory and politics of rape prevention. Berkeley Journal of Gender, Law& Justice, 22(1), 225-252.
  • Irigaray, L. (1985). This sex which is not one. (C. Porter & C. Burke, Trans.). Cornwell University Press.
  • ---. (1998). Linguistic Sexes and Codes. In D.Cameron (Ed.), The feminist critique of language: A reader pp. (119-124). Routledge.
  • Kane, S. (2001). Blasted. Methuen Drama...............................
  • ---. (2006). Cleansed. Methuen Drama...............................................
  • Saunders, G. (2002). Love me or kill me: Sarah Kane and the theatre of extremes. Manchester University Press.
  • Sierz, A. (2001). In-yer- face theatre: British drama today. Faber & Faber.
  • Stephenson, H. & Langridge N. (1997). Sarah Kane. Rage and reason: Women playwrights on playwriting (pp.129-135). Methuen.
  • Wandor, M. (2000). Women playwrights and the challenge of feminism in the 1970s. In E. Aston & J. Reinelt (Eds.), The Cambridge companion to modern British playwrights (pp. 53-68). Cambridge University Press.

Violence as a vehicle for interrogating the male-dominated order in Sarah Kane’s Blasted and Cleansed

Year 2021, Issue: Ö9, 401 - 408, 21.08.2021
https://doi.org/10.29000/rumelide.985606

Abstract

Sarah Kane, who is a very prominent representative of in-yer-face theatre, raises her rebellious voice against social problems in an unprecedented way through her plays, and the subordination of women in society is one of the fundamental issues that the playwright ponders on. She masterfully draws the attention of the audience to patriarchal subjugation by employing violence in her plays. The present study examines the plays, Blasted (1995) and Cleansed (1998), in the light of feminist theories and discusses how Kane criticises the victimization of women in the patriarchal system. Following concise background information pertaining to in-yer-face theatre and the conditions of women playwrights, this article scrutinizes the function of binary oppositions in order to reveal the subordination of women in Blasted. In addition, it discusses how the playwright employs violence to interrogate constructed gender roles by examining the interactions among the main characters in the play. Furthermore, it analyses the normative force of the patriarchal system that feeds on violence and the objectification of women by focusing on the deeds of the merciless character, Tinker, in Cleansed. Above all, this study aims to highlight that violence in Kane’s plays enables the playwright to challenge the nullification of women in the male-dominated order.

References

  • Aston, E., & Reinelt, J. (2000). A century in view: From suffrage to the 1990s. In E. Aston & J. Reinelt (Eds.), The Cambridge companion to modern British playwrights (pp. 1-20). Cambridge University Press.
  • Aston, E. (2003). Feminist views on the English stage women playwrights, 1900-2000.
  • Cambridge University Press.................................................................
  • Beauvoir, S. (1956). The second sex. H. M. Parshley (Ed.). Jonathan Cape.
  • Biçer, A. G. (2011). Depiction of violence onstage: Physical, sexual and verbal dimensions of violence in Sarah Kane’s experiential theatre. The Journal of International Social Research, 4(16), 81-88.
  • Butler, J. (1989). Performative acts and gender constitution: An essay in phenomenology and feminist theory. Theatre Journal, 40(4), 519-531.
  • ---. (1999) Gender trouble. Routledge. ....................................................
  • Donne, J. (1959). XVII .Meditations. Devotions upon emergent occasions: Together with death's duel. (pp. 107-110). Ann Arbor Paperbacks
  • Dworkin, A. (1989). Pornography: Men possessing women. Penguin Group.
  • Edgar, D. (Ed.). (1999). State of play: Playwrights on playwriting. Faber & Faber.
  • Henderson, H. (2007). Feminism, Foucault, and rape: A theory and politics of rape prevention. Berkeley Journal of Gender, Law& Justice, 22(1), 225-252.
  • Irigaray, L. (1985). This sex which is not one. (C. Porter & C. Burke, Trans.). Cornwell University Press.
  • ---. (1998). Linguistic Sexes and Codes. In D.Cameron (Ed.), The feminist critique of language: A reader pp. (119-124). Routledge.
  • Kane, S. (2001). Blasted. Methuen Drama...............................
  • ---. (2006). Cleansed. Methuen Drama...............................................
  • Saunders, G. (2002). Love me or kill me: Sarah Kane and the theatre of extremes. Manchester University Press.
  • Sierz, A. (2001). In-yer- face theatre: British drama today. Faber & Faber.
  • Stephenson, H. & Langridge N. (1997). Sarah Kane. Rage and reason: Women playwrights on playwriting (pp.129-135). Methuen.
  • Wandor, M. (2000). Women playwrights and the challenge of feminism in the 1970s. In E. Aston & J. Reinelt (Eds.), The Cambridge companion to modern British playwrights (pp. 53-68). Cambridge University Press.
There are 19 citations in total.

Details

Primary Language English
Subjects Linguistics
Journal Section World languages, cultures and litertures
Authors

Yalçın Erden 0000-0002-6790-6486

Publication Date August 21, 2021
Published in Issue Year 2021 Issue: Ö9

Cite

APA Erden, Y. (2021). Violence as a vehicle for interrogating the male-dominated order in Sarah Kane’s Blasted and Cleansed. RumeliDE Dil Ve Edebiyat Araştırmaları Dergisi(Ö9), 401-408. https://doi.org/10.29000/rumelide.985606