Ütopya ve Distopyanın Diyalektik Anlayışı Perspektifinden Edward Bond’un Diyalektik Tiyatrosu

Abstract

Edward Bond, sanatın önemli olduğunu çünkü her fikrin eleştiriye tabi olduğu sürekli bir varyasyon diyalektiğinden oluştuğunu ileri sürer. Bond, ütopik bir sanat eserinin kurmaca bir ortamda gerçek çatışmaları çözdüğünü iddia etmez; daha ziyade bu konuları kendi iç yapısında somut bir şekilde ortaya koyduğunu, yeni ve farklı bir varoluş ihtiyacını yansıttığını vurgular. Bu çalışmanın amacı, Marksist-diyalektik tiyatronun en önemli temsilcilerinden biri olan Bond'un The Bundle (1978) ve Summer (1982) oyunlarında nasıl bir ütopya (özgün)/distopya (özgün olmayan/bağımlı) ve umut/umutsuzluk dramaturjisi yarattığını açıklamaktır. Bond, sosyalist bir ütopya arzusunu teşvik etmek için sanatın, özellikle tiyatronun kullanılması gerektiğine inanmaktadır. Bond, hayatın (kapitalizm içindeki) çelişkilerini ütopik bir kurguyla çözmez; daha ziyade, kapitalist sömürünün bireyleri umutsuzluğa sürükleyen sorunlarının oyunlarının iç yapısında görünür kılınması gerektiğini savunur. Bunu, kapitalizmin çelişkilerinin ön plana çıktığı bir tür Brechtyen tiyatro aracılığıyla yapıyor. Brecht gibi Bond da toplumsal değişikliği gerçekleştirmek için tiyatroyu kullanmaya çalışır-her ikisi de seyircileri toplumsal değişimin gerekli ve mümkün olduğuna ikna etmek için toplumun temel sorunlarını yansıtırlar. Bond, yeni ve farklı bir varoluş için kasıtlı olarak bir siyasi propaganda ve ütopik umut karışımı kullanır. Oyunları, politik olarak uyanık bir toplum ve eşitlik ve özgürlüğü ön planda tutan barışçıl bir dünya arzusunu sergiler.

Edward Bond’s Dialectical Theatre from the Perspective of a Dialectical Understanding of Utopia and Dystopia

Abstract

Edward Bond asserts that art is significant because it is made up of a constant dialectic of variation in which every idea is subject to criticism. Bond does not argue that a utopian work of art resolves actual conflicts in a fictitious setting; rather, he emphasises that it exposes these issues in a concrete way in its internal structure and reflects the need for a new and different existence. The aim of this paper is to demonstrate how Bond, one of the most prominent representatives of Marxist-dialectical theatre, creates a dramaturgy of utopia (individual)/dystopia (dividual) and hope/hopelessness in his plays The Bundle (1978) and Summer (1982). Bond believes that art, particularly theatre, should be employed to encourage the desire for a socialist utopia. Bond does not resolve the contradictions of life (within capitalism) in a utopian fiction; rather, he contends that the problems of capitalist exploitation that drive individuals to hopelessness should be made visible in his plays’ internal structure. He does this through a kind of Brechtian theatre where the contradictions of capitalism are foregrounded. Like Brecht, Bond attempts to use theatre to promote change in society - both represent the fundamental problems of society to convince spectators that social change is necessary and possible. Bond purposefully employs a mix of political propaganda and a utopian hope for a new and different existence. His plays exhibit a desire for a politically awake society, and a peaceful world that prioritises equality and freedom.

Keywords

• Dialectic
• Utopia
• Dystopia
• Edward Bond
• Hope

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