Araştırma Makalesi
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Hapgood: Evrenin ve Bireyin Bilinmezleri

Yıl 2015, Cilt: 15 Sayı: 3, 23 - 32, 01.09.2015
https://doi.org/10.18037/ausbd.14793

Öz

Tom Stoppard who is brought up by British Theatre in the twentieth century is one of the pioneer playwrights. He differs from his contemporaries with his dramatic life, outstanding identity and the eclectic dramatic works he produced. His plays, which particularly include thought-provoking discussions, are like funny puzzles to solve because he wishes to draw his audience into those discussions continuously running on his stage. Hapgood (1988), taking place in England during the cold-war years, is one of Stoppard’s plays in which information espionage is at the centre of discussion as the main concern. The play includes a lot of pieces of puzzle-formed thoughts and attitudes which belong to the characters of the play, the members of the British secret service. In Hapgood, Tom Stoppard discusses the identity of modern man, his freedom, loneliness and choices in detail by means of Heisenberg’s ‘Uncertainty Principle’, and a series of metaphors he establishes on the basis of science and art. The major characteristic feature of Hapgood is that it is the first screen play in the world which has taken physics as a subject matter on the stage so far. However, this work -in the projection of science and art- precisely evaluates Stoppard’s ideas focussed on the inner world of an ordinary individual.

Kaynakça

  • Abel, C. (2006). The Drama of Politics and Science: Stoppard’s Hapgood, Perspectives on Political Scien- ce, 35(3): 143-148.
  • Billington, M. (2001). Tom Stoppard (18 March 1988) in Night Stands: A Critic’s View of Modern British Theatre. London: Nick Hern.
  • Brustein, R. (1995). Intellect into Passion, New Repub- lic, 212(5): 30-31.
  • Canby, V. (1994, December 11). Sunday View; A Witty Thriller By Tom Stoppard Doubles the Fun, The New York Times, http://www.nytimes. com/1994/12/11/theater/sunday/-view-a-witty- thriller-by-tom-stoppard-doubles-the–fun.html?p agewanted=all&src=pm(Erişim Tarihi: 21.07.2013)
  • Dean, F. (1981). Tom Stoppard: Comedy As a Moral Matrix. Columbia, London: University of Missouri.
  • Delaney, P. (1990). Tom Stoppard: The Moral Vision of the Major Plays. New York: St.Martin’s.
  • Demastes, W. (2011). Portrait of an Artist as Proto- Chaotician: Tom Stoppard Working His Way to Arcadia, Narrative, 19(2): 229-240.
  • Fleming, J. (2001). Stoppard’s Theatre: Finding Order amid Chaos. Austin: University of Texas.
  • Freeman, J. (1996). Holding up the Mirror to Mind’s Nature, The Modern Language Review, 91(1): 20- 39.
  • Guppy, S. (1997). Tom Stoppard: The Art of Theater VII, Paul Delaney (Ed.), Tom Stoppard in Conver- sation, Ann Arbour: The University of Michigan.
  • Gussow, M. (1995). Conversations with Stoppard. Lon- don: Nick Hern.
  • Hornby, R. (1995). Mathematical Drama, The Hudson Review, 48(2): 279-286.
  • Innes, C. (2006). Allegories from the past: Stoppard’s uses of History, Modern Drama, 49(2): 223-237.
  • Jaggi, M. (2008, September 6). A life in theatre: You can’t help being what you write, The Guardian, http://www.guardian.co.uk/stage/2008/sep/06/ stoppard.theatre.html (Erişim Tarihi: 08.10.2011).
  • Jenkins, A. (1989). The Theatre of Tom Stoppard. Cambridge, New York, Melbourne: Cambridge University.
  • Jernigan, D. (2003). Tom Stoppard and ‘postmodern science’: normalizing radical epistemologies in Hapgood and Arcadia, Comparative Drama, 37(1): 3-35.
  • Karwowski, M. (2003). All Right: An Assessment of Tom Stoppard’s Plays, Contemporary Review, 282(1646): 161-166.
  • Kellaway, K. (1997, July 6). Tom’s Foolery, The Guardi- an, http://www.guardian.co.uk/the observer/1997/ jul/06/features.review7 (Erişim Tarihi: 12.08.2013)
  • Kroll, J. (1995). Mind over Matter, Newsweek, 125(14): 64.
  • Logan, B. (2008). Let’s Get Quantum Physical, Times, April, 07, 2008.
  • Nadel, I. B. (2004). Writing the Life of Tom Stoppard, Journal of Modern Literature, 27(3): 19-29.
  • Stoppard, T. (2000). Toplu Oyunları II. Ankara: Dost.
  • Takkaç, M. (2007). Sahneden Dersler: Tom Stoppard’ın Sahne Oyunları. Ankara: Salkımsöğüt.
  • Watts, J. (1994). Tom Stoppard, Paul Delaney (Ed.), Tom Stoppard in Conversation, Ann Arbour: The University of Michigan.
  • Webb, R. (2008). Entangled Stage, Nature Physics, June 2008, 4(6): 434.
  • Yücel, Ş. (2000). Sunuş. Tom Stoppard Toplu Oyunları 1 içinde (s.1-21), Ankara: Dost.
  • Zinman, Toby S. (1991). Blizintsy/Dvojniki Twins/Do- ubles Hapgood/Hapgood, Modern Drama, 34(2): 312-321.

Hapgood: The Unknowns of the Universe and Individual

Yıl 2015, Cilt: 15 Sayı: 3, 23 - 32, 01.09.2015
https://doi.org/10.18037/ausbd.14793

Öz

Tom Stoppard, İngiliz Tiyatrosu’nun yirminci yüzyılda yetiştirdiği öncü tiyatro yazarlarından biridir. Dramatik yaşamı, sıra dışı kimliği ve ürettiği eklektik tiyatro yapıtları bakımından çağdaşı oyun yazarlarından ayrılır. Onun oyunları özellikle içerdikleri düşünsel tartışmalarla çözmesi eğlenceli bulmacalar gibidir. Çünkü yazar, izleyiciyi sahnesinde sürekli olarak tartıştığı yoğun düşüncelerin içine çekmek ister. Stoppard’ın soğuk savaş yılları İngiltere’sinde geçen, tartışmanın merkezinde bilgi casusluğu olan Hapgood (1988) da bu oyunlardan biridir. Oyun, İngiliz gizli servis üyesi kişilerinin çözülmesi kolay olmayan düşüncelerinden ve davranışlarından oluşan birçok yap-boz parçası içerir. Tom Stoppard, Hapgood’da Heisenberg’in Belirsizlik İlkesinden yararlanarak, bilim-sanat düzleminde kurduğu bir dizi eğretileme yoluyla çağdaş bireyin kimliğini, onun özgürlüğünü, yalnızlığını ve seçimlerini derinlemesine tartışır. Hapgood’un önemli bir özelliği de dünyada o ana dek fiziği konu alan ilk sahne oyunu olmasıdır. Bu çalışma ise Stoppard’ın özellikle bilim-sanat izdüşümünde sıradan bireyin iç dünyasına odaklandığı fikirlerini değerlendirir.

Kaynakça

  • Abel, C. (2006). The Drama of Politics and Science: Stoppard’s Hapgood, Perspectives on Political Scien- ce, 35(3): 143-148.
  • Billington, M. (2001). Tom Stoppard (18 March 1988) in Night Stands: A Critic’s View of Modern British Theatre. London: Nick Hern.
  • Brustein, R. (1995). Intellect into Passion, New Repub- lic, 212(5): 30-31.
  • Canby, V. (1994, December 11). Sunday View; A Witty Thriller By Tom Stoppard Doubles the Fun, The New York Times, http://www.nytimes. com/1994/12/11/theater/sunday/-view-a-witty- thriller-by-tom-stoppard-doubles-the–fun.html?p agewanted=all&src=pm(Erişim Tarihi: 21.07.2013)
  • Dean, F. (1981). Tom Stoppard: Comedy As a Moral Matrix. Columbia, London: University of Missouri.
  • Delaney, P. (1990). Tom Stoppard: The Moral Vision of the Major Plays. New York: St.Martin’s.
  • Demastes, W. (2011). Portrait of an Artist as Proto- Chaotician: Tom Stoppard Working His Way to Arcadia, Narrative, 19(2): 229-240.
  • Fleming, J. (2001). Stoppard’s Theatre: Finding Order amid Chaos. Austin: University of Texas.
  • Freeman, J. (1996). Holding up the Mirror to Mind’s Nature, The Modern Language Review, 91(1): 20- 39.
  • Guppy, S. (1997). Tom Stoppard: The Art of Theater VII, Paul Delaney (Ed.), Tom Stoppard in Conver- sation, Ann Arbour: The University of Michigan.
  • Gussow, M. (1995). Conversations with Stoppard. Lon- don: Nick Hern.
  • Hornby, R. (1995). Mathematical Drama, The Hudson Review, 48(2): 279-286.
  • Innes, C. (2006). Allegories from the past: Stoppard’s uses of History, Modern Drama, 49(2): 223-237.
  • Jaggi, M. (2008, September 6). A life in theatre: You can’t help being what you write, The Guardian, http://www.guardian.co.uk/stage/2008/sep/06/ stoppard.theatre.html (Erişim Tarihi: 08.10.2011).
  • Jenkins, A. (1989). The Theatre of Tom Stoppard. Cambridge, New York, Melbourne: Cambridge University.
  • Jernigan, D. (2003). Tom Stoppard and ‘postmodern science’: normalizing radical epistemologies in Hapgood and Arcadia, Comparative Drama, 37(1): 3-35.
  • Karwowski, M. (2003). All Right: An Assessment of Tom Stoppard’s Plays, Contemporary Review, 282(1646): 161-166.
  • Kellaway, K. (1997, July 6). Tom’s Foolery, The Guardi- an, http://www.guardian.co.uk/the observer/1997/ jul/06/features.review7 (Erişim Tarihi: 12.08.2013)
  • Kroll, J. (1995). Mind over Matter, Newsweek, 125(14): 64.
  • Logan, B. (2008). Let’s Get Quantum Physical, Times, April, 07, 2008.
  • Nadel, I. B. (2004). Writing the Life of Tom Stoppard, Journal of Modern Literature, 27(3): 19-29.
  • Stoppard, T. (2000). Toplu Oyunları II. Ankara: Dost.
  • Takkaç, M. (2007). Sahneden Dersler: Tom Stoppard’ın Sahne Oyunları. Ankara: Salkımsöğüt.
  • Watts, J. (1994). Tom Stoppard, Paul Delaney (Ed.), Tom Stoppard in Conversation, Ann Arbour: The University of Michigan.
  • Webb, R. (2008). Entangled Stage, Nature Physics, June 2008, 4(6): 434.
  • Yücel, Ş. (2000). Sunuş. Tom Stoppard Toplu Oyunları 1 içinde (s.1-21), Ankara: Dost.
  • Zinman, Toby S. (1991). Blizintsy/Dvojniki Twins/Do- ubles Hapgood/Hapgood, Modern Drama, 34(2): 312-321.
Toplam 27 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Kağan Kaya

Yayımlanma Tarihi 1 Eylül 2015
Gönderilme Tarihi 13 Ocak 2016
Yayımlandığı Sayı Yıl 2015 Cilt: 15 Sayı: 3

Kaynak Göster

APA Kaya, K. (2015). Hapgood: The Unknowns of the Universe and Individual. Anadolu Üniversitesi Sosyal Bilimler Dergisi, 15(3), 23-32. https://doi.org/10.18037/ausbd.14793