Araştırma Makalesi
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The Haunted Theatre: Mark Ravenhill’s The Haunting of Susan A

Yıl 2024, Sayı: 30, 1 - 12, 21.10.2024
https://doi.org/10.30767/diledeara.1493296

Öz

Different art forms such as music, light, sound, digital art, dance, painting, sculpture, ritual, and film can be part of the theatre. Through these components, theatre might be used to stage human existence, behaviours, places, historical dimensions, cultural history, emotions, passions, fears, and various narratives and experiences in the social dimension. Mark Ravenhill, focusing on the history of the King’s Head pub, famous people’s stories over ale, and the possibilities of what once could have happened in the room where the audiences are gathered, represents cultural history, passions, and fears and portrays a ghost story using light and sound techniques and various narratives related to the King’s Head Theatre in London. Ravenhill portrays a distinctive ghost and haunted story in his newest play, The Haunting of Susan A (2022). The ghost takes place in the world of Susan, and a private trauma is witnessed when Susan mentions the ghost or feels the ghost during the performance. This paper seeks to study the impact of Ravenhill’s play, which centres on the theatre’s past and, using Suzanne Ahmet’s ghost story, tries to activate audiences’ memories and fear and observe uncanny feelings in audiences. This study will explore the performance at King’s Head and the history of the pub, along with the theoretical approach of hauntology, envisaging which celebrities stopped by for an ale in the King’s Head history and Susan’s story (Suzanne Ahmet), an actress before, a real story (Susan insists) in The Haunting of Susan A.

Kaynakça

  • Aragay, M. Hildegard, K. Enric, M. and Pilar Z. (2007). eds. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. Basingstoke: Palgrave Macmillan.
  • Carlson, M. (2003). The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press.
  • Clements, R. E. A. (2010). Hauntology and Contemporary British Political Theatre (1995-2010). Royal Holloway College, University of London, Ph.D Dissertation. Colbert, S. D. (2022). Theory for Theatre Studies Bodies. London: Methuen Drama.
  • Coverley, M. (2021). Hauntology: Ghosts of Futures Past. Oldcastle Books.
  • Derrida, J. (1994). Specters of Marx: The State of the Debt, The Work of Mourning, and the New International. Tr. Peggy Kamuf. New York: Routledge.
  • Higgins, K. (2016.10.19). “Current Issues in Drama, Theatre and Performance”. https://higginskylemacurrentissuesindrama.blogs.lincoln.ac.uk/page/3/ (2024.5.4)
  • Günenç, M. and Biçer, A. G. (2016). “Postdramatic Aspects of Mark Ravenhill’s Faust is Dead and Pool (No Water)”. Manisa Celal Bayar University Journal of Social Sciences, 14 (3), 236-151.
  • Günenç, M. (2022). “The Role of Media on the Audience and Text in Nathan Ellis’ Play Work”. Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, 35: 1-15.
  • Jezińska, L. E. (2013). Hauntology and intertextuality in contemporary British drama by women playwrights. Toruń, Poland: Nicolaus Copernicus University Press.
  • _____. (2017). “Hauntology, Performance and Remix: Paradise // Now?”. AVANT, 8 (2), 133-144. Luckhurst M and Morin E. (Ed.). /2014). Theatre and Ghosts Materiality, Performance and Modernity. Basingstoke: Palgrave Macmillan.
  • Najip, F. (2022.6.9). “The Haunting of Susan A Review”. https://www.thestage.co.uk/reviews/the-haunting-of-susan-a-review-kings-head-theatre-london (2024.9.10)
  • Phelan, P. (1996).Unmarked: The Politics of Performance. London: Routledge.
  • _____. (1997). Mourning Sex: Performing Public Memories. London: Routledge.
  • Powell, B. D. and Shaffer, T. S. (2009). On the Haunting of Performance Studies. Liminalities: A Journal of Performance Studies 5(1), 1-19.
  • Ravenhill, M. (2008). Shoot/Get Treasure/Repeat, London: Methuen Drama.
  • _____. (2022). The Haunting of Susan A. London: Methuen Drama
  • Saville, A. (2022.6.7). “The Haunting of Susan A’ review”. TimeOut. https://www.timeout.com/london/theatre/the-haunting-of-susan-a-review, (2024.4.30)
  • Shaw, K. (2018). Hauntology The Presence of the Past in Twenty-First Century English Literature. Palgrave,
  • Walfisz, J. (2022.6.7) “The Haunting of Susan A at the King’s Head Theatre”. https://alwaystimefortheatre.com/ (2024.3.3).
  • Wyver, K. (2022.6.7). “The Haunting of Susan A review – a pint of fear in pub theatre’s ghost story”. https://www.theguardian.com/stage/2022/jun/07/the- haunting-of-susan-a-review-kings-head-theatre-london-mark-ravenhill. (2024.4.6)
  • Zimmermann, H. (2003). “Images of Woman in Martin Crimp's Attempts on Her Life”. European Journal of English Studies. 7(1), 69-85.

Perili Tiyatro: Mark Ravenhill’in The Haunting of Susan A Oyunu

Yıl 2024, Sayı: 30, 1 - 12, 21.10.2024
https://doi.org/10.30767/diledeara.1493296

Öz

Müzik, ışık, ses, dijital sanat, dans, resim, heykel, ritüel ve film gibi farklı sanat formları tiyatronun bir parçası olabilir. Bu bileşenler aracılığıyla tiyatro, insan varlığını, davranışlarını, mekânları, tarihsel boyutları, kültürel tarihi, duyguları, tutkuları, korkuları ve toplumsal boyuttaki çeşitli anlatıları ve deneyimleri sahnelemek için kullanılabilir. King's Head pub’ın tarihine, ünlü kişilerin ale üzerine hikayelerine ve seyircilerin toplandığı odada bir zamanlar neler olabileceğine dair olasılıklara odaklanan Mark Ravenhill, kültürel tarihi, tutkuları ve korkuları temsil etmekte ve Londra'daki King's Head Tiyatrosu ile ilgili çeşitli anlatılar ile ışık ve ses tekniklerini kullanarak bir hayalet hikayesini canlandırmaktadır. Ravenhill, en yeni oyunu The Haunting of Susan A’de (2022) kendine özgü bir hayalet ve perili bir hikâyeyi canlandırmaktadır. Hayalet Susan'ın dünyasında yer almakta ve Susan oyun sırasında hayaletten bahsettiğinde ya da hayaleti hissettiğinde özel bir travmaya tanık olmaktadır. Bu makale, Ravenhill'in tiyatronun geçmişine odaklanan ve Suzanne Ahmet’in hayalet hikayesini kullanarak izleyicilerin anılarını ve korkularını harekete geçirmeye ve izleyicilerde tekinsiz duygular gözlemlemeye çalışan oyununun etkisini incelemeyi amaçlamaktadır. Bu çalışma, King’s Head tarihinde hangi ünlülerin bir bira içmek için uğradığını öngörerek, hauntoloji teorisi ile birlikte King's Head’deki performansı ve barın tarihini, daha önce bir oyuncu olan Susan'ın (Suzanne Ahmet), The Haunting of Susan A oyununda gerçek bir hikaye (ısrarla vurguladığı) olan hikayesini inceleyecektir.

Kaynakça

  • Aragay, M. Hildegard, K. Enric, M. and Pilar Z. (2007). eds. British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. Basingstoke: Palgrave Macmillan.
  • Carlson, M. (2003). The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press.
  • Clements, R. E. A. (2010). Hauntology and Contemporary British Political Theatre (1995-2010). Royal Holloway College, University of London, Ph.D Dissertation. Colbert, S. D. (2022). Theory for Theatre Studies Bodies. London: Methuen Drama.
  • Coverley, M. (2021). Hauntology: Ghosts of Futures Past. Oldcastle Books.
  • Derrida, J. (1994). Specters of Marx: The State of the Debt, The Work of Mourning, and the New International. Tr. Peggy Kamuf. New York: Routledge.
  • Higgins, K. (2016.10.19). “Current Issues in Drama, Theatre and Performance”. https://higginskylemacurrentissuesindrama.blogs.lincoln.ac.uk/page/3/ (2024.5.4)
  • Günenç, M. and Biçer, A. G. (2016). “Postdramatic Aspects of Mark Ravenhill’s Faust is Dead and Pool (No Water)”. Manisa Celal Bayar University Journal of Social Sciences, 14 (3), 236-151.
  • Günenç, M. (2022). “The Role of Media on the Audience and Text in Nathan Ellis’ Play Work”. Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, 35: 1-15.
  • Jezińska, L. E. (2013). Hauntology and intertextuality in contemporary British drama by women playwrights. Toruń, Poland: Nicolaus Copernicus University Press.
  • _____. (2017). “Hauntology, Performance and Remix: Paradise // Now?”. AVANT, 8 (2), 133-144. Luckhurst M and Morin E. (Ed.). /2014). Theatre and Ghosts Materiality, Performance and Modernity. Basingstoke: Palgrave Macmillan.
  • Najip, F. (2022.6.9). “The Haunting of Susan A Review”. https://www.thestage.co.uk/reviews/the-haunting-of-susan-a-review-kings-head-theatre-london (2024.9.10)
  • Phelan, P. (1996).Unmarked: The Politics of Performance. London: Routledge.
  • _____. (1997). Mourning Sex: Performing Public Memories. London: Routledge.
  • Powell, B. D. and Shaffer, T. S. (2009). On the Haunting of Performance Studies. Liminalities: A Journal of Performance Studies 5(1), 1-19.
  • Ravenhill, M. (2008). Shoot/Get Treasure/Repeat, London: Methuen Drama.
  • _____. (2022). The Haunting of Susan A. London: Methuen Drama
  • Saville, A. (2022.6.7). “The Haunting of Susan A’ review”. TimeOut. https://www.timeout.com/london/theatre/the-haunting-of-susan-a-review, (2024.4.30)
  • Shaw, K. (2018). Hauntology The Presence of the Past in Twenty-First Century English Literature. Palgrave,
  • Walfisz, J. (2022.6.7) “The Haunting of Susan A at the King’s Head Theatre”. https://alwaystimefortheatre.com/ (2024.3.3).
  • Wyver, K. (2022.6.7). “The Haunting of Susan A review – a pint of fear in pub theatre’s ghost story”. https://www.theguardian.com/stage/2022/jun/07/the- haunting-of-susan-a-review-kings-head-theatre-london-mark-ravenhill. (2024.4.6)
  • Zimmermann, H. (2003). “Images of Woman in Martin Crimp's Attempts on Her Life”. European Journal of English Studies. 7(1), 69-85.
Toplam 21 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İngiliz ve İrlanda Dili, Edebiyatı ve Kültürü
Bölüm Araştırma Makalesi
Yazarlar

Mesut Günenç 0000-0002-7077-1914

Yayımlanma Tarihi 21 Ekim 2024
Gönderilme Tarihi 31 Mayıs 2024
Kabul Tarihi 11 Ekim 2024
Yayımlandığı Sayı Yıl 2024 Sayı: 30

Kaynak Göster

APA Günenç, M. (2024). The Haunted Theatre: Mark Ravenhill’s The Haunting of Susan A. Dil Ve Edebiyat Araştırmaları(30), 1-12. https://doi.org/10.30767/diledeara.1493296

Dil ve Edebiyat Araştırmaları Dergisi Creative Commons Atıf-GayrıTicari-Türetilemez 4.0 Uluslararası Lisansı (CC BY-NC-ND 4.0) ile lisanslanmıştır.