Sunum Sorun veya Sorun Sunumu: Üç Ortadogu Kokenli Amerikan Tiyatrosunda Basmakalip İmajları

Abstract

Bazı tiyatro gösterileri tüm dünyada 11 Eylül'den sonra “terörle savaş” ın sonuçlarını araştırdı. Bu çalışma, Orta Doğu Amerikalı dramatistlerinin ve karakterlerinin savaşa ve bunun üstündeki 9/11 sonrası döneme Amerikan bağlamında Ortadoğuluların nasıl kalıplaşmış, sorunlu konulara dönüştüğü, geri tepme politikalarına nasıl direndiğini ve ne ölçüde direndiğini keşfederek hayatları, Homi Bhabha'nın postkolonyal kavramlarına göre satırlar arasında okuyarak etkinliğin serpinti etkilerinden etkilendi, ancak Browntown, Ten Acrobats in an Amazing Leap of Faith, ve Nine Parts of Desire üzere üç dramada olaya doğrudan bir referans yok. Arzu Bu makale, sosyalleştirilmiş sorunlara yol açabilecek potansiyel kimlik sorunlarından kaçınmak için tireli kimlikleri reddetmek yerine tirelenmiş insanları ana akım bağlamında anlama ve tanıma ve soruna müzakere açısından yaklaşma gereğini tartışmaktadır. Dramatistleri sanatsal prodüksiyonlara kimliklerinin tanındığını iddia etmeye ve sorunlu alemlere dönüşmelerini önlemek için çarpık görüntüleri düzeltmeye çağırıyor.

Keywords

• sömürgesonrası
• Bhabha
• ortadoğu kökenli Amerikan tiyatro
• sunum

Representation of Problems or Problematic Representation: Three Middle Eastern American Plays

Abstract

Several theatric performances have explored the consequences of ‘war on terror’ after 9/11 all over the world. This paper provides insights into how Middle Eastern American dramatists and characters responded to the war and above it to post-9/11 era via exploring how Middle Easterners in American context were stereotyped, transformed into problematic subjects, resisted backlashing policies, and to what extent their lives were influenced by fallout effects of the event by reading between the lines according to Homi Bhabha’s postcolonial concepts, however, there is no direct reference to the event in three dramas namely Browntown, Ten Acrobats in an Amazing Leap of Faith, and Nine Parts of Desire. This paper argues for the necessity of understanding and recognizing hyphenated people in mainstream context and approaching the problem in terms of negotiation instead of negation of hyphenated identities to avoid potential identity problems which may lead to social problems. It calls the dramatists for artistic productions to claim recognition of their identity and correcting the distorted images to prevent their transformation into problematic realms.

Keywords

• postcolonialism
• Middle Eastern American Theatre
• Bhabha

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