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John McGrath'ın The Cheviot, the Stag and the Black, Black Oil adlı oyununu petropolitik drama olarak okumak: Ekolojik sömürü ve petromodernite

Year 2022, Issue: 30, 1032 - 1044, 21.10.2022

Abstract

Petrodrama, ekolojik sorunlara odaklanarak petromodernitenin zorluklarını ve bunun insan ve insan-dışı dünyalar üzerindeki etkilerini ele alan, yeni ortaya çıkan bir çağdaş tiyatro kategorisidir. İnsan çağı olan Antroposen’in sıkıntılarına ve değişimlerine odaklanan petrodrama, esas olarak performans ve politikanın iç içe geçmesiyle meşguldür ve politik söylemlerin ve sistemlerin, insanların ve doğal kaynakların, özellikle de petrolün devam eden sömürüsünü nasıl sürdürdüğüne dair soruları ortaya atmaktadır. Bu amaçla, bu makale John McGrath’ın The Cheviot, the Stag and the Black, Black Oil (1973) adlı oyununu, İskoç Dağlık Bölgesi’nin ekolojik sömürüsü ve petrol kültürüyle ilgilenen petropolitik bir tiyatro olarak yeniden okumaktadır. John McGrath ve tiyatro üzerine politik görüşlerine genel bir bakış sunduktan sonra, bu çalışma İskoç tarihindeki sosyal ve ekolojik mülksüzleştirmenin birbirini izleyen aşamalarını ve McGrath’ın toplumdaki her yapı ve ilişkiyi yapılandıran petromoderniteyi konuşlandırmasını incelemektedir. Bu anlamda, The Cheviot, the Stag and the Black, Black Oil oyunu, ekolojik hayal kırıklığı ve politikanın iç içe geçmesini vurgulayarak insanların doğal kaynaklara kıyasla nasıl ikincil görüldüğünü göstermektedir. Politik olarak angaje bir tiyatro olarak oyun, (petro)modernitenin anti-kapitalist bir eleştirisini dile getirmekte ve epik performanslar aracılığıyla açgözlü yeni-sömürgecilik ve neoliberalizme karşı eylem imkânı sağlamaktadır.

References

  • Billington, M. (2002, January 24). John McGrath. Retrieved 2013, March 22, from https://www.theguardian.com/international.
  • ----. (2009). State of the Nation: British Theatre since 1945. London: Faber.
  • Bradby, D. and Capon, S., eds. (2005). Introduction. In Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. xix-xxii). Exeter: University of Exeter Press.
  • Brecht, B. (1964). Brecht on Theatre: the Development of an Aesthetic. (J. Willett, Trans.). London: Methuen.
  • Buell, F. (2012). A Short History of Oil Cultures: Or, the Marriage of Catastrophe and Exuberance. Journal of American Studies, 46(2), 273-293. https://doi.org/10.1017/S0021875812000102
  • Bull, J. (1984). New British Political Dramatists. New York: Grove Press.
  • DiCenzo, M. (2005). Theatre, Theory and Politics: The Contribution of John McGrath. In D. Bradby and S. Capon, (Eds.), Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. 3-14). Exeter: University of Exeter Press.
  • Eyre, R. (2005). Foreword. In D. Bradby and S. Capon, (Eds.), Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. xii-xvii). Exeter: University of Exeter Press.
  • Ghosh, A. (1992, March 2). Petrofiction: The Oil Encounter and the Novel. The New Republic, pp. 29- 34.
  • Gladwin, D. (2017). Ecological Exile: Spatial Injustice and Environmental Humanities. New York: Routledge.
  • Harvie, C. (1994). Fool’s Gold: The Story of North Sea Oil. London: Penguin Books.
  • Holdsworth, N., ed. (2002). Introduction. In Naked Thoughts That Roam About. London: Nick Hern Books.
  • Howard, P. (2002). He Wrote What He Saw: the Visual Language of John McGrath. NTQ 72, 18(4), 307-313.
  • Itzin, C. (1986). Stages in the Revolution: Political Theatre in Britain since 1968. London: Methuen.
  • Kershaw, B. (1992). The Politics of Performance: Radical Theatre as Cultural Intervention. London: Routledge.
  • ----. (2001). John (Peter) McGrath. In J. Bull, (Ed.), British and Irish Dramatists Since World War II: Second Series. Detroit: Gale Group. Retrieved 2013, April 5, from https://www.gale.com/databases/literature-resource-center
  • LeMenager, S. (2014). Living Oil: Petroleum Culture in the American Century. New York: Oxford University Press.
  • Macdonald, G., ed. (2015). Commentary. In The Cheviot, the Stage, and the Black, Black Oil by John McGrath (pp. 17–80). London: Bloomsbury.
  • MacLennan, E. (2005). Working with John. In D. Bradby and S. Capon, (Eds.), Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. 210-219). Exeter: University of Exeter Press.
  • Malzacher, F., ed. (2015) No Organum to Follow: Possibilities of Political Theatre Today. In Not Just a Mirror: Looking for the Political Theatre of Today (pp. 16-31). Berlin and London: Alexander Verlag.
  • ----. (2002). Naked Thoughts That Roam About. N. Holdsworth, (Ed.). London: Nick Hern Books.
  • Milne, D. (2002). Cheerful History: the Political Theatre of John McGrath. NTQ 72, 18(4), 313-325.
  • Patterson, M. (2003). Strategies of Political Theatre: Post-War British Playwrights. Cambridge: Cambridge University Press.
  • Smout, T. C. (1988). A Century of the Scottish People 1830-1950. London: Fontana Press.
  • Solnick, S. (2021). Fossil Fuel. In J. Parham, (Ed.), Cambridge Companion to Literature and the Anthropocene (pp. 226-241). Cambridge: Cambridge University Press.
  • Szeman, I. and Boyer, D., eds. (2017). Introduction: On the Energy Humanities. In Energy Humanities: An Anthology (n.p.). Baltimore: Johns Hopkins University Press.
  • Wenzel, J. (2017). Introduction. In I. Szeman, J. Wenzel, and P. Yaeger, (Eds.), Fueling Culture: 101 Words for Energy and Environment (pp. 1-16). New York: Fordham University Press.

Reading John McGrath’s The Cheviot, the Stag and the Black, Black Oil as petropolitical drama: Ecological exploitation and petromodernity

Year 2022, Issue: 30, 1032 - 1044, 21.10.2022

Abstract

Petrodrama is an emerging category of contemporary theatre that addresses the challenges of petromodernity and its impacts on human and nonhuman worlds with a main focus on ecological problems. Focusing on the tribulations and vicissitudes of the Anthropocene, the age of the human, petrodrama is mainly preoccupied with the interweaving of performance and politics, one that raises questions about the way political discourses and systems perpetuate ongoing exploitations of humans and natural resources, particularly oil. To this end, this article rereads John McGrath’s play The Cheviot, the Stag and the Black, Black Oil (1973) as petropolitical theatre concerned with ecological exploitations of Scottish Highland and oil culture. After providing an overview of John McGrath and his political views on theatre, the study examines the successive stages of social and ecological dispossession in the Scottish history and McGrath’s deployment of petromodernity that configures every structure and relationships in society. In this sense, The Cheviot, the Stag and the Black, Black Oil highlights the imbrication of ecological disenchantment and politics, demonstrating how people are deemed as secondary compared to natural resources. As a politically engaged theatre, the play thus articulates an anti-capitalist critique of (petro)modernity and allows the possibility of action against greedy neocolonialism and neoliberalism by means of epic performances.

References

  • Billington, M. (2002, January 24). John McGrath. Retrieved 2013, March 22, from https://www.theguardian.com/international.
  • ----. (2009). State of the Nation: British Theatre since 1945. London: Faber.
  • Bradby, D. and Capon, S., eds. (2005). Introduction. In Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. xix-xxii). Exeter: University of Exeter Press.
  • Brecht, B. (1964). Brecht on Theatre: the Development of an Aesthetic. (J. Willett, Trans.). London: Methuen.
  • Buell, F. (2012). A Short History of Oil Cultures: Or, the Marriage of Catastrophe and Exuberance. Journal of American Studies, 46(2), 273-293. https://doi.org/10.1017/S0021875812000102
  • Bull, J. (1984). New British Political Dramatists. New York: Grove Press.
  • DiCenzo, M. (2005). Theatre, Theory and Politics: The Contribution of John McGrath. In D. Bradby and S. Capon, (Eds.), Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. 3-14). Exeter: University of Exeter Press.
  • Eyre, R. (2005). Foreword. In D. Bradby and S. Capon, (Eds.), Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. xii-xvii). Exeter: University of Exeter Press.
  • Ghosh, A. (1992, March 2). Petrofiction: The Oil Encounter and the Novel. The New Republic, pp. 29- 34.
  • Gladwin, D. (2017). Ecological Exile: Spatial Injustice and Environmental Humanities. New York: Routledge.
  • Harvie, C. (1994). Fool’s Gold: The Story of North Sea Oil. London: Penguin Books.
  • Holdsworth, N., ed. (2002). Introduction. In Naked Thoughts That Roam About. London: Nick Hern Books.
  • Howard, P. (2002). He Wrote What He Saw: the Visual Language of John McGrath. NTQ 72, 18(4), 307-313.
  • Itzin, C. (1986). Stages in the Revolution: Political Theatre in Britain since 1968. London: Methuen.
  • Kershaw, B. (1992). The Politics of Performance: Radical Theatre as Cultural Intervention. London: Routledge.
  • ----. (2001). John (Peter) McGrath. In J. Bull, (Ed.), British and Irish Dramatists Since World War II: Second Series. Detroit: Gale Group. Retrieved 2013, April 5, from https://www.gale.com/databases/literature-resource-center
  • LeMenager, S. (2014). Living Oil: Petroleum Culture in the American Century. New York: Oxford University Press.
  • Macdonald, G., ed. (2015). Commentary. In The Cheviot, the Stage, and the Black, Black Oil by John McGrath (pp. 17–80). London: Bloomsbury.
  • MacLennan, E. (2005). Working with John. In D. Bradby and S. Capon, (Eds.), Freedom’s Pioneer: John McGrath’s Work in Theatre, Film and Television (pp. 210-219). Exeter: University of Exeter Press.
  • Malzacher, F., ed. (2015) No Organum to Follow: Possibilities of Political Theatre Today. In Not Just a Mirror: Looking for the Political Theatre of Today (pp. 16-31). Berlin and London: Alexander Verlag.
  • ----. (2002). Naked Thoughts That Roam About. N. Holdsworth, (Ed.). London: Nick Hern Books.
  • Milne, D. (2002). Cheerful History: the Political Theatre of John McGrath. NTQ 72, 18(4), 313-325.
  • Patterson, M. (2003). Strategies of Political Theatre: Post-War British Playwrights. Cambridge: Cambridge University Press.
  • Smout, T. C. (1988). A Century of the Scottish People 1830-1950. London: Fontana Press.
  • Solnick, S. (2021). Fossil Fuel. In J. Parham, (Ed.), Cambridge Companion to Literature and the Anthropocene (pp. 226-241). Cambridge: Cambridge University Press.
  • Szeman, I. and Boyer, D., eds. (2017). Introduction: On the Energy Humanities. In Energy Humanities: An Anthology (n.p.). Baltimore: Johns Hopkins University Press.
  • Wenzel, J. (2017). Introduction. In I. Szeman, J. Wenzel, and P. Yaeger, (Eds.), Fueling Culture: 101 Words for Energy and Environment (pp. 1-16). New York: Fordham University Press.
There are 27 citations in total.

Details

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

Kerim Can Yazgünoğlu This is me 0000-0002-5745-6717

Publication Date October 21, 2022
Published in Issue Year 2022 Issue: 30

Cite

APA Yazgünoğlu, K. C. (2022). Reading John McGrath’s The Cheviot, the Stag and the Black, Black Oil as petropolitical drama: Ecological exploitation and petromodernity. RumeliDE Dil Ve Edebiyat Araştırmaları Dergisi(30), 1032-1044. https://doi.org/10.29000/rumelide.1188784