The Experiential Theatre of Anthony Neilson and The Wonderful World of Dissocia

Yıl 2018, Sayı: 40, 23 - 32, 24.12.2018

Ahmet Gökhan Biçer

https://doi.org/10.21497/sefad.514492

Cited By: 1

Öz

Experiential theatre goes beyond
the boundaries of dramatic theatre by allowing the audience to experience the
event performed on stage and create their own meaning and interpretation of
conflicting phenomena, such as security and violence. As one of the important
representatives of this type of English theatre in the 1990s, the playwright
Anthony Neilson, has attracted substantial critical attention for his trenchant
portrayal of violence in all its bareness that inevitably comes out within the
practices of daily life. With one of his most important plays to date, The Wonderful World of Dissocia (2004),
Neilson portrays experiential theatricality of states of mind while exploring
the connection between the internal and external reality of a self. By doing so,
Neilson pushes the framework of experiential theatre to a new extreme. This
paper scrutinizes his contribution to the practice of experiential theatre
within the context of violence and identity politics.

Anahtar Kelimeler

Anthony Neilson, experiential theatre, violence, identity politics, The Wonderful World of Dissocia

Anthony Neilson’un Deneyimsel Tiyatrosu ve Disosya Harikalar Dünyası

Öz

Deneyimsel tiyatro, izleyicilere sahnede temsil edilen olayı
deneyimlemelerine, onların, güvenlik ve şiddet gibi çatışan olaylarla ilgili
kendi anlamlandırma ve yorumlama süreçlerini oluşturmalarına olanak tanıyarak
dramatik tiyatronun sınırlarını aşmaktadır. 1990’lı yıllar İngiliz tiyatrosunun
bu türdeki önemli temsilcilerinden Anthony Neilson, kaçınılmaz olarak günlük
yaşam deneyimlerinden kaynaklanan şiddet olgusunu bütün çıplaklığıyla ve keskin
biçimde betimleyişi yönünden önemli eleştiriler almıştır. Neilson, en önemli
oyunlarından The Wonderful World of
Dissocia ile (2004), bireyin içsel ve dışsal gerçekliği arasındaki
bağıntıyı incelerken, akılsal durumu deneyimsel bir teatrallikle resmeder. Bu
yolla yazar, deneyimsel tiyatronun kavramsal çerçevesini yeni bir boyuta taşır.
Bu çalışma, Neilson’un deneyimsel tiyatro pratiğine olan katkısını şiddet
olgusu ve kimlik politikası bağlamında incelemektedir.

Anahtar Kelimeler

Anthony Neilson, deneyimsel tiyatro, şiddet, kimlik politikası, Disosya Harikalar Dünyası

Kaynakça

• Brown, Ian (2007). “Alternative Sensibilities: Devolutionary Comedy and Scottish Camp”. Edinburgh Companion to Contemporary Scottish Literature. Ed. Berthold Camp. Edinburgh: Edinburgh University Press. 319-327.
• Brown, Ian (2011). The Edinburgh Companion to Scottish Drama. Edinburgh: Edinburgh University Press.
• Brown, Mark. (2016.11.22). “Curiouser and curiouser: interview with Alice's Adventures In Wonderland director Anthony Neilson”. http://www.heraldscotland.com/news/14920900.Curiouser_and_curiouser__interview_with_Alice__39_s_Adventures_In_Wonderland_director_Anthony_Neilson/ [09.05.2018].
• Bull, John (2011). “Anthony Neilson”. The Methuen Guide to Contemporary British Playwrights. ed. Middeke, Martin- Schnierer, Peter Paul et al. London: Methuen Drama. 343-362.
• Clark, Colin (2007). “What is Anthony Neilson On?”. Interview with Anthony Neilson. http://www.nationaltheatrescotland.com/content/mediaassets/pdf/AnthonyNeilson-interview-Dissocia-Realism.pdf [11.07.2012].
• Cramer, Neil (2004). “Neilson and Ambivalence”. The programme for The Wonderful World of Dissocia. Edinburgh: Edinburgh International Festival Society.
• Dromgoole, Dominic (2002). The Full Room: An A-Z of Contemporary Playwriting. London: Methuen.
• Halliburton, Rachel (2007). “The Wonderful World of Dissocia”. Time Out London. http://www.timeout.com/london/theatre/reviews/3255/review.html [11.01.2012].
• Herman, R. Judith (2001). Trauma and Recovery. London: Pandora.
• LaFrance, Mary. (2013). "The Disappearing Fourth Wall: Law, Ethics, and Experiential Theatre". Vanderbilt Journal of Entertainment & Technology Law. Vol. 15 (3): p. 507-582.
• Lane, David (2010). Contemporary British Drama. Cheshire: Edinburgh University Press.
• Mader, Doris (2010.02.24). “Anthony Neilson”. The Literary Encyclopedia. http://www.litency.com/php/speople.php?rec=true&UID=12573 24 February 2010, [03.07.2012].
• Middeke Martin, Schnierer, Peter Paul et al. (2011). The Methuen Guide to Contemporary British Playwrights. London: Methuen Drama.
• Neilson, Anthony (1998). “Introduction”. Anthony Neilson Plays 1: Normal, Penetrator, Years of the Family, The Night Before Christmas, The Censor. London: Methuen. ix-xi.
• Neilson, Anthony (2007). The Wonderful World of Dissocia, Realism. London: Methuen.
• Neilson, Anthony (2015). The Wonderful World of Dissocia, Realism. London: Methuen.
• Ravenhill, Mark (2004.08.26). “I want to stay pure”. The Guardian. http://www.guardian.co.uk/stage/2004/aug/26/theatre.edinburghfestival20042. [9 July 2012].
• Reid, Trish (2007). “Deformities of Frame: The Theatre of Anthony Neilson”. Contemporary Theatre Review 17 (4): 487-498.
• Reid, Trish (2011). “Post-Devolutionary Drama”. The Edinburgh Companion to Scottish Drama. ed. Ian Brown. Edinburgh: Edinburgh University Press: 188-199.
• Reid, Trish (2012). “Anthony Neilson”. Modern British Playwriting: the 1990s. Ed. Aleks Sierz, London: Methuen. 137-163.
• Reid, Trish (2017). The Theatre Anthony Neilson. London: Bloomsbury.
• Sierz, Aleks (2000). In-Yer-Face Theatre British Drama Today. London: Faber and Faber.
• Sierz, Aleks (2017). “In-Yer-Face Theatre”. http://www.inyerfacetheatre.com/az.html [10.05.2018].
• Smith, Caroline (2008). “Anthony Neilson interviewed by Caroline Smith”. Brand Literary Magazine: 76-79. http://www.brandliterarymagazine.co.uk/editions/02/contributors/01/extract.pdf. [12.04.2018].