Öz
Within the scope of postmodernist tenets this study aims to scrutinize Mark Ravenhill’s Some Explicit Polaroids which is considered as one of the most significant plays of In-yer-face theatre that began to gain influence in Britain at the beginning of the Nineties. Some Explicit Polaroids is a political criticism on the confrontation of the two generations and reflects postmodernist tenets, which inhold nihilistic values. In this study, it is aimed to bring forward that Some Explicit Polaroids reproduces the current social milieu in a postmodernist view. In addition to this, the evaluations written on postmodern drama and the criticism on postmodernism are dealt with according to their resonances in the play. The conclusion reveals the evaluations of this study.
Anahtar Kelimeler
In-Yer-Face Theatre Mark Ravenhill Some Explicit Polaroids Postmodernism.
Kaynakça
- Bahun-Radunovic, S. (2008). “History in Postmodern Theatre: Heiner Müller, Caryl Churchill, and Suzan-Lori Parks”. Comparative Literature Studies. Vol.45, No. 4, 446-470.
- Baudrillard, J. (1984). The Illusion of the End. Trans. By Chris Turner. Stanford: Stanford UP.
- De Buck, G. (2009). Homosexuality and Contemporary Society in Mark Ravenhill’s Works. Ghent: Master Thesis Ghent University. (Unpublished Master Thesis)
- Eagleton, T. (1996). The Illusions of Postmodernism. USA: Blackwell Publishing.
- Gottlieb, V. (2003). “Theatre Today-the new realism”. Contemporary Theatre Review. 13:1, 5-14, London: Routledge.
- Hassan, I. (1983). “Desire and Dissent in the Postmodern Age”. Kenyon Review, Vol. 1 No.5, 1-18.
- Hooti&Shooshtarian, Noorbaksh-Samaneh. (2010). “A Postmodernist Reading of Tom Stoppard’s Arcadia”. Studies in Literature and Language. Canada, Vol. 1, No, 13-31.
- Hooti&Shooshtarian, Noorbaksh-Samaneh. (2011). “A Postmodernist Reading of Harold Pinter’s The Homecoming”. Cross-Cultural Communication, Vol.7, No.2, 41Jameson, F. (1991). Postmodernism, or the Cultural Logic of Late Capitalism. Durham, Duke UP.
- Kramer, P.T. (2008). Top Girls: Postmodern Imperfect, in Drama and the Postmodern Ed. by Daniel K. Jernigan. Cambria Press, Amherst.
- Murphy, N. (2008). Beckett and the Stage Image: Toward a Poetics of Postmodern Performance, in Drama and the Postmodern Ed. by Daniel K. Jernigan. Amherst: Cambria Press.
- Pavis, P. (2004). Ravenhill and Durringer, or the Entente Cordiale Misunderstood. (Trans. By David Bradby). Contemporary Theatre Review, Vol.14 No.2, Routledge.
- Ravenhill, M. (2001). Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids, London: Methuen Drama.
- Ravenhill, M. (2006). “Me My iBook, and Writing in America”. Contemporary Theatre Review, Vol. 16, No. 1, 131-138.
- Rebellato, D. (2001). Introduction to Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids by Mark Ravenhill, London, Metheun Drama, ix-xx.
- Sierz, A. (2001). In-yer-face Theatre: British Drama Today. London: Faber and Faber. Stafford, Tony. (2009). Postmodern Elements in Shaw’s Misalliance. Pennsylvania: Pennsylvania State University Press, 176-188.
- Svich, C. (2003). “Commerce and Morality in the theatre of Mark Ravenhill”. Contemporary Theatre Review. Vol.13, No.1, 81-95.
- Urban, K. (2001). “An Ethichs of Catastrophe: The Theatre in PAJ”. A journal of Performance and Art, Vol. 23, No. 3.
- Wade, L.A. (1999). “Postmodern Violence and Human Solidarity: Sex and Forks in Shopping and F***ing”. Theatre and Violence, Vol. 7, 109-115.
- Wolf, M. (1999). Some Explicit Polaroids. Reviews in Variety, London.
Öz
Bu çalışma bin dokuz yüz doksanların başında etkisini göstermeye başlayan
suratına tiyatronun en önemli temsilcilerinden olan Mark Ravenhill’in Some Explicit
Polaroids adlı oyununu postmodernist ölçütlere göre incelemeyi amaçlamıştır. Some
Explicit Polaroids, iki farklı neslin çatışmasının postmodernist ölçütlerle yansıtıldığı,
nihilist özellikleri de içerisinde barındıran politik bir eleştiridir. Bu çalışmada, Some
Explicit Polaroids oyununun mevcut sosyal çevreyi postmodern bir görüşle yansıttığının
üzerinde durulmuştur. Ayrıca, postmodern tiyatro üzerine yazılmış olan değerlendirmeler
ve postmodernizmin üzerine yapılmış olan eleştiriler oyunda buldukları yankılara göre
ele alınmışlardır. Sonuç kısmında bu çalışma sonucunda erişilenler ortaya konulmuştur.
Anahtar Kelimeler
Suratına Tiyatro Mark Ravenhill Some Explicit Polaroids Postmodernism.
Kaynakça
- Bahun-Radunovic, S. (2008). “History in Postmodern Theatre: Heiner Müller, Caryl Churchill, and Suzan-Lori Parks”. Comparative Literature Studies. Vol.45, No. 4, 446-470.
- Baudrillard, J. (1984). The Illusion of the End. Trans. By Chris Turner. Stanford: Stanford UP.
- De Buck, G. (2009). Homosexuality and Contemporary Society in Mark Ravenhill’s Works. Ghent: Master Thesis Ghent University. (Unpublished Master Thesis)
- Eagleton, T. (1996). The Illusions of Postmodernism. USA: Blackwell Publishing.
- Gottlieb, V. (2003). “Theatre Today-the new realism”. Contemporary Theatre Review. 13:1, 5-14, London: Routledge.
- Hassan, I. (1983). “Desire and Dissent in the Postmodern Age”. Kenyon Review, Vol. 1 No.5, 1-18.
- Hooti&Shooshtarian, Noorbaksh-Samaneh. (2010). “A Postmodernist Reading of Tom Stoppard’s Arcadia”. Studies in Literature and Language. Canada, Vol. 1, No, 13-31.
- Hooti&Shooshtarian, Noorbaksh-Samaneh. (2011). “A Postmodernist Reading of Harold Pinter’s The Homecoming”. Cross-Cultural Communication, Vol.7, No.2, 41Jameson, F. (1991). Postmodernism, or the Cultural Logic of Late Capitalism. Durham, Duke UP.
- Kramer, P.T. (2008). Top Girls: Postmodern Imperfect, in Drama and the Postmodern Ed. by Daniel K. Jernigan. Cambria Press, Amherst.
- Murphy, N. (2008). Beckett and the Stage Image: Toward a Poetics of Postmodern Performance, in Drama and the Postmodern Ed. by Daniel K. Jernigan. Amherst: Cambria Press.
- Pavis, P. (2004). Ravenhill and Durringer, or the Entente Cordiale Misunderstood. (Trans. By David Bradby). Contemporary Theatre Review, Vol.14 No.2, Routledge.
- Ravenhill, M. (2001). Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids, London: Methuen Drama.
- Ravenhill, M. (2006). “Me My iBook, and Writing in America”. Contemporary Theatre Review, Vol. 16, No. 1, 131-138.
- Rebellato, D. (2001). Introduction to Plays 1: Shopping and F***ing, Faust is Dead, Handbag, Some Explicit Polaroids by Mark Ravenhill, London, Metheun Drama, ix-xx.
- Sierz, A. (2001). In-yer-face Theatre: British Drama Today. London: Faber and Faber. Stafford, Tony. (2009). Postmodern Elements in Shaw’s Misalliance. Pennsylvania: Pennsylvania State University Press, 176-188.
- Svich, C. (2003). “Commerce and Morality in the theatre of Mark Ravenhill”. Contemporary Theatre Review. Vol.13, No.1, 81-95.
- Urban, K. (2001). “An Ethichs of Catastrophe: The Theatre in PAJ”. A journal of Performance and Art, Vol. 23, No. 3.
- Wade, L.A. (1999). “Postmodern Violence and Human Solidarity: Sex and Forks in Shopping and F***ing”. Theatre and Violence, Vol. 7, 109-115.
- Wolf, M. (1999). Some Explicit Polaroids. Reviews in Variety, London.
Ayrıntılar
| Birincil Dil | tr;en |
|---|---|
| Bölüm | Makaleler |
| Yazarlar | |
| Yayımlanma Tarihi | 31 Ekim 2014 |
| Yayımlandığı Sayı | Yıl 2014 Cilt: 18 Sayı: 2 |
