Unknown Characters and Lost Unity: Postdramatic Reflections in Martin Crimp’s Whole Blue Sky

Yıl 2024, , 151 - 163, 31.01.2024

Çağlayan Doğan

https://doi.org/10.31126/akrajournal.1403646

Öz

This study aims to reveal the postdramatic theatricalities in Martin Crimp's Whole Blue Sky (2005). Martin Crimp has been one of the most prolific, controversial and satirical playwrights since his plays were first staged in British theatres in the late 1980s. While his early plays evoke the absurdist tradition, his later plays emphasize innovative theatrical elements labelled in-yer-face, postdramatic and New Writing. Considering Crimp's wideranging body of work, his distinctive theatrical style is clearly recognizable. Although postdramatic theater is usually associated with theater movements that emerged after the 1990s, it dates back to the theater of Bertold Brecht. For this reason, postdramatic debates are briefly discussed in the Introduction. Whole Blue Sky (2005), which is the field of application of this study, is a short play in the collection of Fewer Emergencies (2005) and Face to the Wall (2005). Moreover, the text in question is completely anonymous and consists of three characters numbered 1, 2 and 3. It is known that character 1 is the only female character in the text. In addition, it is seen that the plot and other traditional principles of theatre evaporate in the play. This study presents an evaluation of Crimp's Whole Blue Sky (2005) in terms of postdramatic theatrical features.

Anahtar Kelimeler

Martin Crimp, Postdramatic Theatre, Contemporary British Theatre, Whole Blue Sky

Bilinmeyen Karakterler ve Yitik Bütünlük: Martin Crimp’ın Whole Blue Sky Oyunundaki Postdramatic Yansımalar

Öz

Bu çalışmada Martin Crimp'in Whole Blue Sky (2005) adlı oyunundaki postdramatik teatralliklerin ortaya konulması amaçlanmaktadır. Martin Crimp 1980'lerin sonunda oyunlarının İngiliz tiyatrolarında ilk kez sahnelenmesinden bu yana en üretken, tartışmalı ve hicivci oyun yazarlarından biri olmuştur. Yazarın ilk oyunları absürdist geleneği çağrıştırsa da, sonraki oyunları in-yer-face, postdramatik ve New Writing gibi etiketlerle anılan yenilikçi teatral unsurları ön plana çıkarmaktadır. Crimp’in geniş kapsamlı eserleri göz önüne alındığında, kendine özgü teatral tarzı açıkça fark edilir. Postdramatik tiyatro genellikle 1990'lardan sonra ortaya çıkan tiyatro akımlarıyla ilişkilendirilmesine rağmen Bertold Brecht’in tiyatrosuna kadar uzanmaktadır. Bu nedenle postdramatik tartışmalar Giriş bölümünde öz bir biçimde ele alınmaktadır. Bu çalışmanın uygulama alanı olan Whole Blue Sky (2005), Fewer Emergencies (2005) ve Face to the Wall (2005) oyunlarının derlemesinde yer alan bir kısa oyundur. Ayrıca söz konusu metin tamamen isimsiz ve 1, 2 ve 3 numaraları ile gösterilen üç karakterden oluşmaktadır. Metinde 1 numaralı karakterin tek kadın karakter olduğu bilinmektedir. Buna ek olarak, oyunda olay örgüsünün ve tiyatronun diğer geleneksel ilkelerinin buharlaştığı görülmektedir. Bu çalışma Crimp'in Whole Blue Sky (2005) isimli oyununun postdramatik teatral özellikler açısından değerlendirmesini sunmaktadır.

Anahtar Kelimeler

Martin Crimp, Postdramatik Tiyatro, Britanya Çağdaş Tiyatrosu, Whole Blue Sky

Kaynakça

• Abrams, M. H. (1999). A Glossary of Literary Terms. Heinle & Heinle Thomson Learning: United States.
• Agusti, C.E. (2013). Martin Crimp's Theatre: Collapse as Resistance to Late Capitalist Society, Walter De Gruyter, Berlin.
• Angelaki, V. (2012). The Plays of Martin Crimp: Making Theatre Strange, Macmillan, Palgrave.
• Aragay, M. & Escoda, C. (2012). Postdramatism, Ethics, and the Role of Light in Martin Crimp’s Fewer Emergencies. New Theatre Quarterly, 28(2), 133-142.
• Aragay, M, Klein, H, Monforte, E, & Zozaya, P. (2007). British Theatre of the 1990s In-terviews with Directors, Playwrights, Critics and Academics, Palgrave Macmillan.
• Aristotle. (1996). Poetics. Ed. Malcolm Heath. London: Penguin Books.
• Barnett, D. (2008). When is a play not a Drama? Two Examples of Postdramatic Theatre Texts. New Theatre Quarterly, 24(1), 14-23.
• Berton, P., R. (2010). Committed Drama Within Postdramatic Theatre: A Study of Con-temporary German Language Plays. Unpublished Doctoral Dissertation. University of Colorado.
• Crimp, M. (2015). Martin Crimp: Plays 3. Faber and Faber, London.
• Heath, M. (1996). Introduction. Poetics. London: Penguin Books.
• Hoad, T.F. (2000). The Concise Oxford Dictionary of English Etymology.
• Jürs-Munby, K. (2006). Introduction. Postdramatic Theatre. Abington: Routledge. 1-15.
• Ledger, A. J. (2010). ―Does What? Acting, Directing, and Rehearsing Martin Crimp's Fewer Emergencies. New Theatre Quarterly, 26(02), 121-132.
• Lehmann, H.T. (2006). Postdramatic Theater. Translated by Karen Jürs-Munby, Abington: Routledge.
• Lehmann, H.T. (2016). Tragedy and Dramatic Theatre, Routledge.
• Obis, E. (2014). ―Fewer emergencies in Paris: Interpreting the Blank. Contemporary Theatre Review, 24(3), 390-395.
• Pavis, P. (1998). Dictionary of the Theatre: Terms, Concepts, and Analysis. Trans. Christine Shantz. Toronto: University of Toronto Press.
• Rorty, A. O. (1992). The Psychology of Aristotelian Tragedy. Essays on Aristotle’s Poetics. Ed. Amélie Oksenberg Rorty. New Jersey: Princeton UP.
• Sierz, A. (2013). The Theatre of Martin Crimp, Bloomsbury Methuen Drama. Third Edition.