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CHANTAL BILODEAU'NUN SILA ADLI OYUNUNDA EKOFOBİDEN EKOZOFİYE

Yıl 2021, Cilt: 61 Sayı: 2, 1007 - 1026, 28.12.2021
https://doi.org/10.33171/dtcfjournal.2021.61.2.17

Öz

Son zamanlarda çeşitli eleştirel ve edebi eserlerde ele alınan ekolojik düşünce, tiyatro ve performans sanatları alanında, hem teori hem gösteri bağlamında, yavaş yavaş yer bulmuştur. Ekolojik karşılıklılığı, dramatik ve tematik içeriğinin merkezine yerleştiren ekolojik tiyatro, insanları ve insan olmayanları birbirlerine karşılıklı olarak bağlı bir çerçevede konumlandırarak, Batı tiyatrosunun insan merkezci yaklaşımını reddeder. Böylece, ekolojik tiyatro, insanın insan olmayana üstünlüğünü varsayarak kültür/doğa ikiliğini destekleyen, ekofobi kavramını sorunsallaştırır. Felix Guattari’nin Üç Ekoloji (2000) adlı eserindeki ‘ekozofi’ kavramına dayanan, ekozofik tiyatro, yalnızca insan ve insan-dışı varlıklar arasındaki etkileşimleri değil, aynı zamanda sosyal ilişkileri ve insan öznelliğini de kapsayan yeni bir tür ekolojik tiyatro olarak ortaya çıkar. Böylelikle, bu makale, ekozofik tiyatronun özelliklerini ön plana çıkararak,bu tiyatro türünün öznel, toplumsal ve ekolojik boyutları ‘yeni etik-politik ve estetik paradigmalar’ aracılığıyla nasıl birbirine bağladığını ve yeni varoluş biçimlerine, toplumsal yeniden yapılandırmalara ve özgün komüniter modellere nasıl olanak sağladığını ortaya çıkarmayı hedeflemektedir. Bu bağlamda, bu makale, Fransız-Kanadalı oyun yazarı Chantal Bilodeau’nın Sila (2015) adlı oyununu, ekozofik bakış açısıyla analiz ederek, Bilodeau’nun Guattari’nin önerdiği yeni ‘etik-politik-estetik paradigmalar’ aracılığıyla, tiyatronun öznelliklerimizi dönüştürebilme kapasitesinden faydalanarak yeniden özneleştirme va toplumsal oluşum sürecine katıldığını göstermektedir

Destekleyen Kurum

Yok

Proje Numarası

Yok

Teşekkür

Yok

Kaynakça

  • Antonioli, M. (2018). What is Ecosophy? In C.V. Boundas (Ed.), Schizoanalysis and Ecosophy: Reading Deleuze and Guattari (pp. 74-87). London: Bloomsbury.
  • Arons, W. (2010). Beyond the Nature/Culture Divide: Challenges from Ecocriticism and Evolutionary Biology for Theater Historiography. In H. Bial and S. Magelssen (Eds.), Theater Historiography: Critical Interventions (pp. 148-161). University of Michigan Press.
  • Arons, W., May, T. J. (2012). Readings in Performance and Ecology. New York: Palgrave Macmillan.
  • Bilodeau, C. (2015). Sila. Vancouver: Talonbooks.
  • Cape Farewell. 2013. What Does Culture Have to Do with Climate Change? Everything. Carbon 14: Climate is Culture Program Guide. Canada, December 29. Retrieved from: https://www.capefarewell.com/carbon14/
  • Chaudri, U. (1994). ‘There Must Be a Lot of Fish in That Lake’: Toward an Ecological Theater. Theater, 25 (1), 23-31.
  • Clark, T. (2015). Ecocriticism on the Edge: The Anthropocene as a Threshold Concept. London: Bloomsbury.
  • Crutzen, P. J., Stoermer, E. F. (2000). The Anthropocene. IGBP Newsletter, 41, 17-18.
  • Estok, S. C. (2009). Theorizing in a Space of Ambivalent Openness: Ecocriticism and Ecophobia. Interdisciplinary Studies in Literature and Environment, 16 (2), 203-225.
  • Estok, S. C. (2011). Ecocriticism and Shakespeare: Reading Ecophobia. New York: Palgrave Macmillan.
  • Estok, S. C. (2018). The Ecophobia Hypothesis. New York: Routledge.
  • Garcin-Marrou, F. (2018). For an Ecosophical Theatre. In C.V. Boundas (Ed.), Schizoanalysis and Ecosophy: Reading Deleuze and Guattari (pp. 181-98). London: Bloomsbury.
  • Genosko, G. (2009). Felix Guattari: A Critical Introduction. New York: Pluto.
  • Guattari, F. (1995), Chaosmosis: An Ethico-Aesthetic Paradigm. Trans. P. Bains and J. Pefanis. Bloomington: Indiana University Press.
  • Guattari, F. (2000). The Three Ecologies. Trans. I. Pindar and P. Sutton. London: Continuum.
  • Lavery, C. (2016). Introduction: Performance and Ecology – What Can Theatre Do? Green Letters: Studies in Ecocriticism, 20 (3), 229-36.
  • Lavery, C., Finburgh, C. (Eds.). (2015). Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage. London: Bloomsbury Methuen Drama.
  • May, T. J. (2007). Beyond Bambi: Toward a Dangerous Ecocriticism in Theatre Studies. Theatre Topics, 17 (2), 95-110.
  • May, T. J. (2010). Kneading Marie Clements’ Burning Vision. Canadian Theatre Review, 144, 5-12.
  • May, T. J. (2016). Radical Empathy, Embodied Pedagogy, and Climate Change Theatre. HowlRound. April 20.
  • Merchant, C. (1980). The Death of Nature: Women, Ecology and the Scientific Revolution. San Francisco: Harper & Row.
  • Miles, M. (2014). Eco-Aesthetics: Art, Literatures and Architecture in a Period of Climate Change. London: Bloomsbury Publishing.
  • Nixon, R. (2011). Slow Violence and the Environmentalism of the Poor. Cambridge: Harvard University Press.
  • Noddings, N. (2002). Starting at Home: Caring and Social Policy. Berkeley: University of California Press.
  • Pindar, I., Sutton, P . (2000). Introduction. In F. Guattari, The Three Ecologies. London: Continuum.
  • Plumwood, V. (1993). Feminism and the Mastery of Nature. New York: Routledge.
  • Sandberg-Zakian, M. (2015). Introduction. In C. Bilodeau, Sila (pp. i-v). Vancouver: Talonbooks.
  • Sobel, D. (1996). Beyond Ecophobia: Reclaiming the Heart in Nature Education. Great Barrington, MA: Orion.
  • Woynarski, L. (2020). Ecodramaturgies: Theatre, Performance, and Climate Change. New York: Palgrave Macmillan.

FROM ECOPHOBIA TO ECOSOPHY IN CHANTAL BILODEAU’S SILA

Yıl 2021, Cilt: 61 Sayı: 2, 1007 - 1026, 28.12.2021
https://doi.org/10.33171/dtcfjournal.2021.61.2.17

Öz

Ecological thinking, which has recently found expression in a wide range of critical and literary works, has been slow to take hold in the field of theatre and performance arts, both in scholarship and practice. Ecological theatre, placing ecological reciprocity at the centre of its dramatic and thematic content, rejects the humanist paradigm of Western theatre, situating humans and non-humans in a mutually reliant framework. Thus, ecological theatre problematizes the notion of ecophobia that postulates the superiority of humans over non-humans, shoring up culture/nature dualism. Drawing upon Felix Guattari’s notion of ‘ecosophy’ in Three Ecologies (2000), ecosophical theatre emerges as a new kind of ecological theatre, which includes not only human-non-human interactions but also social relations and human subjectivity. Therefore, by bringing into the spotlight the ecosophical theatre qualities, this paper aims at exploring how ecosophical theatre connects subjective, social, and ecological registers through new ethico-political and aesthetic paradigms and allows for fresh modes of existence, social reconfigurations, and original communitarian harmonies. In this context, by analyzing French-Canadian playwright Chantal Bilodeau’s Sila (2015) from an ecosophical point of view, this paper indicates that Bilodeau participates in the processes of resingularization and social construction by making use of theatre’s capacity to modify our subjectivities through the ‘ethico-political and aesthetic paradigms’ that Guattari suggests.

Proje Numarası

Yok

Kaynakça

  • Antonioli, M. (2018). What is Ecosophy? In C.V. Boundas (Ed.), Schizoanalysis and Ecosophy: Reading Deleuze and Guattari (pp. 74-87). London: Bloomsbury.
  • Arons, W. (2010). Beyond the Nature/Culture Divide: Challenges from Ecocriticism and Evolutionary Biology for Theater Historiography. In H. Bial and S. Magelssen (Eds.), Theater Historiography: Critical Interventions (pp. 148-161). University of Michigan Press.
  • Arons, W., May, T. J. (2012). Readings in Performance and Ecology. New York: Palgrave Macmillan.
  • Bilodeau, C. (2015). Sila. Vancouver: Talonbooks.
  • Cape Farewell. 2013. What Does Culture Have to Do with Climate Change? Everything. Carbon 14: Climate is Culture Program Guide. Canada, December 29. Retrieved from: https://www.capefarewell.com/carbon14/
  • Chaudri, U. (1994). ‘There Must Be a Lot of Fish in That Lake’: Toward an Ecological Theater. Theater, 25 (1), 23-31.
  • Clark, T. (2015). Ecocriticism on the Edge: The Anthropocene as a Threshold Concept. London: Bloomsbury.
  • Crutzen, P. J., Stoermer, E. F. (2000). The Anthropocene. IGBP Newsletter, 41, 17-18.
  • Estok, S. C. (2009). Theorizing in a Space of Ambivalent Openness: Ecocriticism and Ecophobia. Interdisciplinary Studies in Literature and Environment, 16 (2), 203-225.
  • Estok, S. C. (2011). Ecocriticism and Shakespeare: Reading Ecophobia. New York: Palgrave Macmillan.
  • Estok, S. C. (2018). The Ecophobia Hypothesis. New York: Routledge.
  • Garcin-Marrou, F. (2018). For an Ecosophical Theatre. In C.V. Boundas (Ed.), Schizoanalysis and Ecosophy: Reading Deleuze and Guattari (pp. 181-98). London: Bloomsbury.
  • Genosko, G. (2009). Felix Guattari: A Critical Introduction. New York: Pluto.
  • Guattari, F. (1995), Chaosmosis: An Ethico-Aesthetic Paradigm. Trans. P. Bains and J. Pefanis. Bloomington: Indiana University Press.
  • Guattari, F. (2000). The Three Ecologies. Trans. I. Pindar and P. Sutton. London: Continuum.
  • Lavery, C. (2016). Introduction: Performance and Ecology – What Can Theatre Do? Green Letters: Studies in Ecocriticism, 20 (3), 229-36.
  • Lavery, C., Finburgh, C. (Eds.). (2015). Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage. London: Bloomsbury Methuen Drama.
  • May, T. J. (2007). Beyond Bambi: Toward a Dangerous Ecocriticism in Theatre Studies. Theatre Topics, 17 (2), 95-110.
  • May, T. J. (2010). Kneading Marie Clements’ Burning Vision. Canadian Theatre Review, 144, 5-12.
  • May, T. J. (2016). Radical Empathy, Embodied Pedagogy, and Climate Change Theatre. HowlRound. April 20.
  • Merchant, C. (1980). The Death of Nature: Women, Ecology and the Scientific Revolution. San Francisco: Harper & Row.
  • Miles, M. (2014). Eco-Aesthetics: Art, Literatures and Architecture in a Period of Climate Change. London: Bloomsbury Publishing.
  • Nixon, R. (2011). Slow Violence and the Environmentalism of the Poor. Cambridge: Harvard University Press.
  • Noddings, N. (2002). Starting at Home: Caring and Social Policy. Berkeley: University of California Press.
  • Pindar, I., Sutton, P . (2000). Introduction. In F. Guattari, The Three Ecologies. London: Continuum.
  • Plumwood, V. (1993). Feminism and the Mastery of Nature. New York: Routledge.
  • Sandberg-Zakian, M. (2015). Introduction. In C. Bilodeau, Sila (pp. i-v). Vancouver: Talonbooks.
  • Sobel, D. (1996). Beyond Ecophobia: Reclaiming the Heart in Nature Education. Great Barrington, MA: Orion.
  • Woynarski, L. (2020). Ecodramaturgies: Theatre, Performance, and Climate Change. New York: Palgrave Macmillan.
Toplam 29 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Sanat ve Edebiyat
Bölüm Araştırma Makalesi
Yazarlar

Işıl Şahin Gülter 0000-0002-2313-0997

Proje Numarası Yok
Yayımlanma Tarihi 28 Aralık 2021
Gönderilme Tarihi 3 Eylül 2021
Yayımlandığı Sayı Yıl 2021 Cilt: 61 Sayı: 2

Kaynak Göster

APA Şahin Gülter, I. (2021). FROM ECOPHOBIA TO ECOSOPHY IN CHANTAL BILODEAU’S SILA. Ankara Üniversitesi Dil Ve Tarih-Coğrafya Fakültesi Dergisi, 61(2), 1007-1026. https://doi.org/10.33171/dtcfjournal.2021.61.2.17

Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi

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