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A REREADING OF ANTHONY NEILSON’S THE CENSOR IN THE LIGHT OF ZYGMUNT BAUMAN’S MORAL SOCIOLOGY

Yıl 2020, , 1 - 19, 15.09.2020
https://doi.org/10.33692/avrasyad.730228

Öz

New writing, In-Yer-Face theatre, rising masculinity, grunge, the rave scene, and hip-hop dominated the world of music, literature, and drama in the nineties. The nineties also displayed that one could reach sexual affairs not only in the political world and on TVs, but also on theatre stages. Anthony Neilson whose works are associated in criticism with the phenomenon variously described as In-Yer-Face Theatre put The Censor on the stage in 1997. The Censor is not the playwright and director Anthony Neilson’s first experiential play; however, it was his most sensational and taboo-breaking one thanks to its infamous pornographic scene and a theme around sexual trauma, affection, loss, and death. It is a fact that there is a limitation of studies that focus on the relationship between Anthony Neilson’s dramaturgy and postmodernism. Therefore, this work aims to explore Neilson's Censor from a new perspective that will enable the postmodern elements and features of Neilson's work to be viewed from a moral point of view, which envisages analysing the postmodern situation through Zygmunt Bauman's views. To do this, firstly, this work limits its analysis to the discovery of the playwright’s in-yer-face drama via The Censor. Secondly, after presenting the Polish sociologist Zygmunt Bauman’s views over morality, it analyses morality behind the notion of fluid in The Censor through the focus on ordinary postmodern man and his/her moral and ethical condition by following the postmodernist zeitgeist around Zygmunt Bauman’s moral sociology.

Kaynakça

  • Ali, S. (2016). Canım Aliye, Ruhum Filiz: Bütün Yapıtları. (Haz.) Sevengül Yıldız, İstanbul: YKY.
  • Bauman, Z. (1989). Modernity and the Holocaust. Cambridge: Polity.
  • Bauman, Z. (1993). Postmodern Ethics. Oxford: Blackwell.
  • Bauman, Z. (2007). Consuming Life. Cambridge: Polity Press.
  • Bauman, Z. (2012). Liquid Modernity. Cambridge: Polity.
  • Bauman, Z., & Lyon, D. (2013). Liquid surveillance. Cambridge: Polity.
  • Biesta, G. J. (2016). Good Education in an Age of Measurement. London & New York: Routledge.
  • Bozer, A. D. (2016). Postdramatik Tiyatro ve İngiliz Tiyatrosu. İstanbul: Mitos Boyut.
  • Broich, U. (2001). A Theatre of Blood and Sperm. New Trends in British Theatre. European Studies: A Journal of European Culture, History and Politics, 207-226.
  • Brown, I. (2007). Alternative Sensibilities: Devolutionary Comedy and Scottish Camp. In B. Camp (Ed.), Edinburgh Companion to Contemporary Scottish Literature (pp. 319-327). Edinburgh: Edinburgh University.
  • Bull, J. (2011). Anthony Neilson”, The Methuen Guide to Contemporary British Playwrights. In M. Davis, & K. Tester (Eds.), Bauman’s Challenge: Sociological Issues for the Twenty-First Century (pp. 172-88). Basingstoke: Palgrave Macmillan.
  • Campbell, T. & Till, C. (2010). Resistance Towards Ethics. In M. Davis, & K. Tester (Eds.), Bauman’s Challenge Sociological Issues for the 21st Century (pp. 172-188). London: Palgrave Macmillan.
  • Coveney, M. (1997, June 13). The Censor/Theatre Review. The Guardian. Retrieved December 02, 2019, from Daily Mail.
  • Davis, M. (2013). Liquid Sociology – What For? In M. Davis (Ed.), Liquid Sociology: Metaphor in Zygmunt Bauman’s Analysis of Modernity (pp. 1-12). Surrey; Burlington: Ashgate.
  • Davis, M. (Ed.). (2013). Liquid Sociology Metaphor in Zygmunt Bauman's Analysis of Modernity. London and New York: Routledge.
  • Dromgoole, D. (2002). The Full Room: An A-Z of Contemporary Playwriting. London: Methuen.
  • Eagleton, T. (2003 [1996]). The Illusions of Postmodernism. Berlin; Malden; Oxford; Melbourne: Blackwell.
  • Gardner, L. (2002, May 16). Edward Gant's Amazing Feats of Loneliness. The Guardian. Retrieved January 11, 2020, from https://www.theguardian.com/stage/2002/may/16/theatre.artsfeatures1
  • Gottlieb, V. (1999). Lukewarm Britannia. In V. Gottlieb, & C. Chambers (Eds.), Theatre in a Cool Climate (pp. 209-212), Oxford: Amber Lane Press.
  • Grochala, S. (2017). The Contemporary Political Play: Rethinking Dramaturgical Structure. London - Oxford - New York: Bloomsbury Methuen Drama.
  • İzmirli, S. (2014). Postdramatic Tendencies On The British Stage: The Plays Of Mark Ravenhill. Unpublished PhD Dissertation, Ankara: Atılım University, Graduate School of Social Social Sciences.
  • Lane, D. (2010). Contemporary British Drama. Edinburgh: Edinburgh University.
  • Lévinas, E. (1981). Otherwise Than Being, or Beyond Essence. (A. Lingis, Trans.) The Hague: Martinus Nijhoff.
  • Merriam-Webster. (2001). Compton's Dictionary. Elmhurst, Illinois: Success Publishing Group.
  • Neilson, A. (1998a). Introduction. In A. Neilson, Anthony Neilson Plays 1: Normal, Penetrator, Years of the Family, The Night Before Christmas, The Censor (pp. ix-xi), London: Methuen.
  • Neilson, A. (1998b). Anthony Neilson Plays 1: Normal, Penetrator, Years of the Family, The Night Before Christmas, The Censor. London: Methuen.
  • Nikcevic, S. (2005, August). British Brutalism, the ‘New European Drama’, and the Role of the Director. NTQ, 21 (3), 255-272. doi: 0.1017/s0266464x05000151
  • Rattansi, A. (2017). Bauman and Contemporary Sociology: A Critical Analysis. Manchester: Manchester University.
  • Reid, T. (2012). Anthony Neilson. A. Sierz (Dü.) içinde, Modern British Playwriting: The 1990s (s. 137-163.), London: Methuen Drama.
  • Reid, T. (2017). The Theatre of Anthony Neilson. London: Bloomsbury.
  • Sayın, G. (2016). Simon Stephens Tiyatrosu: Dramatik Metinden Performans Metnine. In A. D. Bozer (Ed.), Postdramatik Tiyatro ve İngiliz Tiyatrosu (pp. 115-143), İstanbul: Mitos Boyut.
  • Sierz, A. (1998). Cool Britannia? ‘In-Yer-Face’ Writing in the British Theatre Today. New Theatre Quarterly, 14 (56), 324-333.
  • Sierz, A. (2001). In-Yer-Face Theatre British Drama Today. London: Faber and Faber.
  • Sierz, A. (2008). We All Need Stories: The Politics of In-Yer-Face Theatre. In R. D'Monte, & G. Saunders (Eds.), Cool Britannia?: British Political Drama in the 1990s (pp. 23-37). Basingstoke: Palgrave Macmillan.
  • Sierz, A. (2012). Modern British Playwriting: The 1990s. London: Methuen Drama. Print.
  • Şenlen Güvenç, S. (2001). Censorship and the Censor: Anthony Neilson's The Censor. Tiyatro Araştırmaları Dergisi, 1 (31), 7-20.
  • Tester, K. (2004). The Social Thought of Zygmunt Bauman. Houndmills; Basingstoke: Palgrave Macmillan.
  • Urban, K. (2004). Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the "Nineties'. New Theatre Quarterly, 20( 4), 354-372.
  • Urban, K. (2006). Cruel Britannia: British Theatre In The 1990s. Dissertation. New Brunswick - Ann Arbor: The State University of New Jersey - UMI, AAT 3240285. Print.

ANTHONY NEİLSON’UN SANSÜRCÜ İSİMLİ OYUNUNUN ZYGMUNT BAUMAN’IN AHLAK SOSYOLOJİSİ IŞIĞINDA YENİ BİR OKUMASI

Yıl 2020, , 1 - 19, 15.09.2020
https://doi.org/10.33692/avrasyad.730228

Öz

Yeni Yazın, Yüze Vurumcu Tiyatro, yükselen erkeklik, grunge, çılgın sahne ve hip-hop doksanlarda müzik, edebiyat ve drama dünyasına hâkim oldu. Doksanlar yalnızca siyasi dünyada ve televizyonlarda değil, aynı zamanda tiyatro sahnelerinde de cinsel konulara ulaşılabileceğini gösterdi. Eserleri eleştirel anlamda Yüze Vurumcu Tiyatro olarak tanımlanan tiyatro ile ilişkilendirilen Anthony Neilson, Sansürcü isimli oyununu 1997’de sahneye koydu. Sansürcü, oyun yazarı ve yönetmen Anthony Neilson’un ilk deneyimsel oyunu değildir; ancak, kötü ünlü pornografik sahnesi ile cinsel travma, sevgi, kayıp ve ölüm konularına odaklı teması sayesinde en sansasyonel ve tabuları yıkan eseridir. Anthony Neilson’un dramaturgisi ve Postmodernizm arasındaki ilişkiye odaklanan çalışmaların sınırlı olduğu bir gerçektir. Bu nedenle, bu çalışma, Neilson'un Sansürcü’sünü, Zygmunt Bauman’ın görüşleri aracılığıyla postmodern durumu analiz etmeyi öngören, Neilson'un çalışmasındaki postmodern unsurları ve oyunun özelliklerini ahlaki bir bakış açıyla görülmesini sağlayacak olan yeni bir perspektiften keşfetmeyi amaçlamaktadır. Bunu yapmak için, ilk olarak analizini oyun yazarının Yüze Vurumcu Tiyatrosunu Sansürcü aracılığıyla keşfetmekle sınırlar. İkincisi, Polonyalı sosyolog Zygmunt Bauman'ın ahlak konusundaki görüşlerini sunduktan sonra, Zygmunt Bauman'ın ahlak sosyolojisindeki postmodern sıradan bireyi ve onun ahlaki ve etik durumunu izleyerek Sansürcü’deki akışkanlık kavramının arkasındaki akışkan ahlakı analiz eder.

Kaynakça

  • Ali, S. (2016). Canım Aliye, Ruhum Filiz: Bütün Yapıtları. (Haz.) Sevengül Yıldız, İstanbul: YKY.
  • Bauman, Z. (1989). Modernity and the Holocaust. Cambridge: Polity.
  • Bauman, Z. (1993). Postmodern Ethics. Oxford: Blackwell.
  • Bauman, Z. (2007). Consuming Life. Cambridge: Polity Press.
  • Bauman, Z. (2012). Liquid Modernity. Cambridge: Polity.
  • Bauman, Z., & Lyon, D. (2013). Liquid surveillance. Cambridge: Polity.
  • Biesta, G. J. (2016). Good Education in an Age of Measurement. London & New York: Routledge.
  • Bozer, A. D. (2016). Postdramatik Tiyatro ve İngiliz Tiyatrosu. İstanbul: Mitos Boyut.
  • Broich, U. (2001). A Theatre of Blood and Sperm. New Trends in British Theatre. European Studies: A Journal of European Culture, History and Politics, 207-226.
  • Brown, I. (2007). Alternative Sensibilities: Devolutionary Comedy and Scottish Camp. In B. Camp (Ed.), Edinburgh Companion to Contemporary Scottish Literature (pp. 319-327). Edinburgh: Edinburgh University.
  • Bull, J. (2011). Anthony Neilson”, The Methuen Guide to Contemporary British Playwrights. In M. Davis, & K. Tester (Eds.), Bauman’s Challenge: Sociological Issues for the Twenty-First Century (pp. 172-88). Basingstoke: Palgrave Macmillan.
  • Campbell, T. & Till, C. (2010). Resistance Towards Ethics. In M. Davis, & K. Tester (Eds.), Bauman’s Challenge Sociological Issues for the 21st Century (pp. 172-188). London: Palgrave Macmillan.
  • Coveney, M. (1997, June 13). The Censor/Theatre Review. The Guardian. Retrieved December 02, 2019, from Daily Mail.
  • Davis, M. (2013). Liquid Sociology – What For? In M. Davis (Ed.), Liquid Sociology: Metaphor in Zygmunt Bauman’s Analysis of Modernity (pp. 1-12). Surrey; Burlington: Ashgate.
  • Davis, M. (Ed.). (2013). Liquid Sociology Metaphor in Zygmunt Bauman's Analysis of Modernity. London and New York: Routledge.
  • Dromgoole, D. (2002). The Full Room: An A-Z of Contemporary Playwriting. London: Methuen.
  • Eagleton, T. (2003 [1996]). The Illusions of Postmodernism. Berlin; Malden; Oxford; Melbourne: Blackwell.
  • Gardner, L. (2002, May 16). Edward Gant's Amazing Feats of Loneliness. The Guardian. Retrieved January 11, 2020, from https://www.theguardian.com/stage/2002/may/16/theatre.artsfeatures1
  • Gottlieb, V. (1999). Lukewarm Britannia. In V. Gottlieb, & C. Chambers (Eds.), Theatre in a Cool Climate (pp. 209-212), Oxford: Amber Lane Press.
  • Grochala, S. (2017). The Contemporary Political Play: Rethinking Dramaturgical Structure. London - Oxford - New York: Bloomsbury Methuen Drama.
  • İzmirli, S. (2014). Postdramatic Tendencies On The British Stage: The Plays Of Mark Ravenhill. Unpublished PhD Dissertation, Ankara: Atılım University, Graduate School of Social Social Sciences.
  • Lane, D. (2010). Contemporary British Drama. Edinburgh: Edinburgh University.
  • Lévinas, E. (1981). Otherwise Than Being, or Beyond Essence. (A. Lingis, Trans.) The Hague: Martinus Nijhoff.
  • Merriam-Webster. (2001). Compton's Dictionary. Elmhurst, Illinois: Success Publishing Group.
  • Neilson, A. (1998a). Introduction. In A. Neilson, Anthony Neilson Plays 1: Normal, Penetrator, Years of the Family, The Night Before Christmas, The Censor (pp. ix-xi), London: Methuen.
  • Neilson, A. (1998b). Anthony Neilson Plays 1: Normal, Penetrator, Years of the Family, The Night Before Christmas, The Censor. London: Methuen.
  • Nikcevic, S. (2005, August). British Brutalism, the ‘New European Drama’, and the Role of the Director. NTQ, 21 (3), 255-272. doi: 0.1017/s0266464x05000151
  • Rattansi, A. (2017). Bauman and Contemporary Sociology: A Critical Analysis. Manchester: Manchester University.
  • Reid, T. (2012). Anthony Neilson. A. Sierz (Dü.) içinde, Modern British Playwriting: The 1990s (s. 137-163.), London: Methuen Drama.
  • Reid, T. (2017). The Theatre of Anthony Neilson. London: Bloomsbury.
  • Sayın, G. (2016). Simon Stephens Tiyatrosu: Dramatik Metinden Performans Metnine. In A. D. Bozer (Ed.), Postdramatik Tiyatro ve İngiliz Tiyatrosu (pp. 115-143), İstanbul: Mitos Boyut.
  • Sierz, A. (1998). Cool Britannia? ‘In-Yer-Face’ Writing in the British Theatre Today. New Theatre Quarterly, 14 (56), 324-333.
  • Sierz, A. (2001). In-Yer-Face Theatre British Drama Today. London: Faber and Faber.
  • Sierz, A. (2008). We All Need Stories: The Politics of In-Yer-Face Theatre. In R. D'Monte, & G. Saunders (Eds.), Cool Britannia?: British Political Drama in the 1990s (pp. 23-37). Basingstoke: Palgrave Macmillan.
  • Sierz, A. (2012). Modern British Playwriting: The 1990s. London: Methuen Drama. Print.
  • Şenlen Güvenç, S. (2001). Censorship and the Censor: Anthony Neilson's The Censor. Tiyatro Araştırmaları Dergisi, 1 (31), 7-20.
  • Tester, K. (2004). The Social Thought of Zygmunt Bauman. Houndmills; Basingstoke: Palgrave Macmillan.
  • Urban, K. (2004). Towards a Theory of Cruel Britannia: Coolness, Cruelty, and the "Nineties'. New Theatre Quarterly, 20( 4), 354-372.
  • Urban, K. (2006). Cruel Britannia: British Theatre In The 1990s. Dissertation. New Brunswick - Ann Arbor: The State University of New Jersey - UMI, AAT 3240285. Print.
Toplam 39 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Makaleler
Yazarlar

Kağan Kaya 0000-0001-9251-0267

Sedat Bay Bu kişi benim 0000-0001-9118-2775

Yayımlanma Tarihi 15 Eylül 2020
Gönderilme Tarihi 30 Nisan 2020
Yayımlandığı Sayı Yıl 2020

Kaynak Göster

APA Kaya, K., & Bay, S. (2020). A REREADING OF ANTHONY NEILSON’S THE CENSOR IN THE LIGHT OF ZYGMUNT BAUMAN’S MORAL SOCIOLOGY. Avrasya Uluslararası Araştırmalar Dergisi, 8(23), 1-19. https://doi.org/10.33692/avrasyad.730228

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