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Anthony Neilson’ın Realism ve Narrative Adlı Oyunlarında Melezlik

Yıl 2022, Cilt: 39 Sayı: 1, 330 - 346, 30.06.2022
https://doi.org/10.32600/huefd.942236

Öz

Yazar, yönetmen, oyuncular, dekor ve kostüm sanatçıları, müzisyenler, dansçılar, ışıklandırma uzmanı; kısaca sahne önü ve sahne arkası teknik ekibin ortak çabalarının bir ürünü olan tiyatro, özü gereği melez bir sanattır. Tiyatro, doğuşundan bugüne türler ve sanatlar arası alışverişlerde bulunarak ve her çağın teknolojisinden faydalanarak medyalar arası ve melez bir sanat olma özelliğini korumaktadır. Ancak tiyatronun melezliği neredeyse yirminci yüzyıla kadar ciddi bir araştırma ve tartışma konusu yapılmamıştır. Son on beş yılda ise Hans-Thies Lehmann, Patrice Pavis, Gerda Poschmann, Andy Lavender, Jean Pierre Sarrazac ve Erika Fischer-Lichte gibi isimlerin öncülüğünde tiyatronun melezliğinin ve üretimlerde öne çıkan melezlemelerin tiyatro ve performans çalışmalarında kuramsal olarak çalışılmaya ve tartışılmaya başlandığı görülmektedir. Bu çalışma tiyatronun melez doğasını geçmiş ve günümüz perspektifinden İngiliz tiyatrosunda önemli bir yere sahip olan oyun yazarı Anthony Neilson’ın Realism/Gerçekçilik (2006) ve Narrative/Anlatı (2013) adlı iki oyunu üzerinden örneklerle açıklanmayı amaçlamaktadır.

Kaynakça

  • Artaud, A. (1958). On the Balinese Theatre. The Theatre and Its Double. New York: Grove Press. 53-68
  • Ayache, S. (2017). ‘In-Yer-Head’ Theatre: Staging the Mind in Contemporary British Drama Towards a Quantum Psychopoetics of the Stage. (Doktora Tezi), Sorborne University, Paris.
  • Bauman, Z. (2003). Modernlik ve müphemlik. (Çev. İsmail Türkmen). İstanbul: Ayrıntı Yayınları.
  • Bauman, Z. (2017). Akışkan aşk: insan ilişkilerinin kırılganlığına dair, (Çev. Işık Ergüden), İstanbul: Alfa Yayınları.
  • Brown, I. (2013). Scottish theatre: Diversity, language, continuity. Amsterdam & New York: Ropodi.
  • Brown, M. (2017a, January 2). Scottish Performing Arts Highlights in 2017. https://scottishstage.wordpress.com/category/theatre-features/page/4/
  • Brown, M. (2017b). “Not so ‘in-yer-face’: Neilson and the reneissance Scottish theatre”. The Theatre of Anthony Neilson. London: Bloomsbury Publishing. 186-195.
  • Bull, J. (2011). “Anthony Neilson”. The Methuen Drama Guide to Contemporary British Playwrights. (Martin Middeke, Peter Paul Schierer & Aleks Sierz Ed.). London: Methuen.
  • Çamurdan, E. (2011). Çağdaş tiyatro ve dramaturgi. İstanbul: Mitos Boyut Yayınları.
  • Candan, A. (2013). Öncü tiyatro ve dijital çağda gösterim. İstanbul: İBÜ Yayınları. English Oxford Living Dictionaries, https://en.oxforddictionaries.com.tr.
  • Fischer-Lichte, E. (1996). The Intercultural Trend as a Productive Factor in the History of Theatre. In P. Pavis (Ed.), The Intercultural Performance Reader (pp. 27-41). London & New York: Routledge.
  • Fischer-Lichte, E. & Jo Riley. (1997). The Show and the Gaze of Theatre: A European Perspective. Iowa City: University of Iowa Press.Fischer-Lichte, E. (2009). Interweaving Cultures in Performance: Different States of Being In-Between. New Theatre Quarterly. 25(4), 391-401.
  • Fischer-Lichte, E. (2014). The Routledge Introduction to Theatre and Performance Studies. (Minou Arjomand & Ramona Mosse Ed.). (Çev. Minou Arjomand). New York: Routledge.
  • Gardner, L. (2006, August 21). “Realism”. The Guardian. https://www.theguardian.com/stage/2006/aug/17/theatre.edinburgh2006.
  • Gillinson, M. (2011, June 21). Man-size cats threesomes and talking washing machines. http://www.culturewars.org.uk/index.php/ site/article/man-size_cats_toilet_threesomes_and_talking_washing_machines/
  • Grochala, S. L. (2011). Seriousness, Structure and the Dramaturgy of Social Life: The Politics of Dramatic Structure in Contemporary British Playwriting 1997-2011. Queen Mary University of London. Doktora Tezi.
  • Gurter, C. (2013, April 12). “Narrative”. Younder Theatre. https://www.ayoungertheatre.com/review-narrative-anthony-neilson-royal-court-theatre/
  • Harpin, A. (2017). “Dirty Realism”. The theatre of Anthony Neilson. (Trish Reid Ed.). London: Bloomsbury.
  • Hutton, D. (2013, April 21). “Narrative”. https://danhutton.wordpress.com/ 2013/04/21/narrative-by-anthony-neilson/
  • Innes, C. & M. Shevtsova. (2013). The Cambridge Introduction to Theatre Directing. Cambridge: Cambridge University Press. 77-86.
  • Jerrigan, D. (2008). Postmodern Tipping Points. In D. K. Jerrigan (Ed.), Drama and the Postmodern: Assessing the Limits of Metatheatre. Amherst: Cambria Press.
  • Karacabey, S. (2006). Modern sonrası tiyatro ve Heiner Müller. Ankara: De Ki.
  • Lehmann, H. T. (2006). Postdramatic theatre. (Çev. Karen Jürs-Munby). London & New York: Routledge.
  • Logan, B. (2004, August 14). “Everyday Madness”. The Guardian. https://www.theguardian.com/stage/2006/aug/14/theatre.edinburgh20062
  • Fisher, M., (2006, August 27). “Realism”, Variety, https://variety.com/2006/legit/reviews/realism-1200513952/
  • Marmion, P. (2013, April 12). “Narrative: An extraordinary surreal parable of modern life”. MailOnline. https://www.dailymail.co.uk/tvshowbiz/article-2307869/Narrative-An-extraordinary-surreal-parable-modern-life.html
  • Maxwell, D. (2011, June 17). “Realism”. The Times. https://www.bloomsbury.com/us/realism-9781408157183/
  • Neilson, A. (2008). Plays 2. London: Bloomsbury Publishing.
  • Neilson, A. (2014). Contemporary Scottish plays: Bullet Catch, The Artist Man and The Mother Woman, Narrative, Rantin. (Trish Reid Ed.), London: Methuen.
  • Neilson, A. (2020). “Introduction”, Plays 3. https://books.google.com.tr/books?id=VqJ-DwAAQBAJ&printsec=frontcover &dq=anthony+neilson+plays+3&hl=tr&sa=X&ved=0ahUKEwjgw73E1qvpAhWLfZoKHcLQAhUQ6AEIJzAA#v=onepage&q=anthony%20neilson%20plays%203&f=false
  • Nutku, Ö. (2001). Dram sanatı: Tiyatroya giriş. İstanbul: Kabalcı Yayınları.
  • O’Connor, K. (2013, April 12). “Narrative”. Culture Theatre. https://www.theupcoming.co.uk/2013/04/12/theatre-review-narrative-at-the-royal-court-theatre/
  • Peter, J. (2006, August 20). “Battling with elements”. Sunday Times. https://www.thetimes.co.uk/article/edinburgh-battling-with-the-elements-pdh2sts3rpx
  • Peters, J. (2013). Narration and Dialogue in Contemporary British and German-Language Drama (Texts-Translations-Mise-en-scène). (Doktora Tezi). University of Exeter.
  • Prophet, B. B. (1986). Aspects of traditional Chinese Theatre in the plays of Bertolt Brecht. (PhD Dissertation). University of Michigan.
  • Rădulescu, C. (2018). Towards a hybrid theatre. Editura ARTES, 25. 259-268.
  • Reid, T. (2011). Post-Devolutionary drama. In I. Brown (Ed.), The Edinburgh companion to Scottish drama (pp.188-199). Edinburgh: Edinburgh University Press.
  • Reid, T. (2017). The theatre of Anthony Neilson. London: Bloomsbury.
  • Shakespeare, W. (2013). Nasıl hoşunuza giderse, (Çev. Özdemir Nutku), İstanbul: Türkiye İş Bankası Kültür Yayınları.
  • Sierz, A. (2010a, February 16). “New writing in British theatre today”. New Writing, Playwritings, Transcripts. http://www.theatrevoice.com/audio/new-writing-in-british-theatre-today/
  • Sierz, A. (2010b). The Methuen drama book of 21st century British theatre. London: Methuen.
  • Sierz, A. (2011, June 15). “Realism”. Soho Theatre. http://www.sierz.co.uk/reviews/realism-soho-theatre/
  • Spencer, C. (2006, August 17). “What men are really like”. Telegraph. http://www.telegraph.co.uk/culture/theatre/3654592/What-men-are-really-like.html
  • Taxidou, O. (1998). The Mask: A Periodical Performance by Edward Gordon Craig. Amsterdam: Harwood Academic Publishers.
  • Tian, M. (2016). “Authenticity and Usability, or Welding the Unweldable”: Meyerhold’s Refraction of Japanese Theatre”. Asian Theatre Journal. 33(2). 310-346.
  • Trueman, M. (2013, April 6). “The uncertain stage: Anthony Neilson”. Financial Times, http://matttrueman.co.uk/2013/04/the-uncertain-stage-anthony-neilson.html.
  • Turner, J. & Synne Behrndt. (2008). Dramaturgy and performance. Basingstoke: Palgrave Macmillan.
  • Woodruff, P. (2003). “Theatre”. The Oxford handbook of aesthetics. (Jerrolf Levinson Ed.), Oxford: Oxford University Press.

Hybridity in Anthony Neilson’s Realism and Narrative

Yıl 2022, Cilt: 39 Sayı: 1, 330 - 346, 30.06.2022
https://doi.org/10.32600/huefd.942236

Öz

Theatre, as a co-production produced by efforts of the playwright, the director, the actors, prop-makers and costume artists, musicians, the dancers, the lighting experts; in short, on-stage and backstage technical team, is inherently a hybrid art. It has maintained the quality of being an intermedial and hybrid art form by being in interaction with genres and arts and benefitting from the technology of every age since its birth. However, the hybridity of theatre has not been the subject of serious research and discussion until almost the twentieth century. In the last fifteen years, it is seen that the hybridity of theatre and hybridization coming to the fore in the productions have begun to be discussed and studied theoretically in theatre and performance studies under the leadership of names such as Hans-Thies Lehmann, Patrice Pavis, Gerda Poschmann, Andy Lavender, Jean Pierre Sarrazac, and Erika Fischer-Lichte, This paper explores the hybrid nature of theatre to be discussed regarding the perspectives of the past and the present through the examples from two plays entitled Realism (2006) and Narrative (2013), by the playwright Anthony Neilson, who has an important place in British theatre.

Kaynakça

  • Artaud, A. (1958). On the Balinese Theatre. The Theatre and Its Double. New York: Grove Press. 53-68
  • Ayache, S. (2017). ‘In-Yer-Head’ Theatre: Staging the Mind in Contemporary British Drama Towards a Quantum Psychopoetics of the Stage. (Doktora Tezi), Sorborne University, Paris.
  • Bauman, Z. (2003). Modernlik ve müphemlik. (Çev. İsmail Türkmen). İstanbul: Ayrıntı Yayınları.
  • Bauman, Z. (2017). Akışkan aşk: insan ilişkilerinin kırılganlığına dair, (Çev. Işık Ergüden), İstanbul: Alfa Yayınları.
  • Brown, I. (2013). Scottish theatre: Diversity, language, continuity. Amsterdam & New York: Ropodi.
  • Brown, M. (2017a, January 2). Scottish Performing Arts Highlights in 2017. https://scottishstage.wordpress.com/category/theatre-features/page/4/
  • Brown, M. (2017b). “Not so ‘in-yer-face’: Neilson and the reneissance Scottish theatre”. The Theatre of Anthony Neilson. London: Bloomsbury Publishing. 186-195.
  • Bull, J. (2011). “Anthony Neilson”. The Methuen Drama Guide to Contemporary British Playwrights. (Martin Middeke, Peter Paul Schierer & Aleks Sierz Ed.). London: Methuen.
  • Çamurdan, E. (2011). Çağdaş tiyatro ve dramaturgi. İstanbul: Mitos Boyut Yayınları.
  • Candan, A. (2013). Öncü tiyatro ve dijital çağda gösterim. İstanbul: İBÜ Yayınları. English Oxford Living Dictionaries, https://en.oxforddictionaries.com.tr.
  • Fischer-Lichte, E. (1996). The Intercultural Trend as a Productive Factor in the History of Theatre. In P. Pavis (Ed.), The Intercultural Performance Reader (pp. 27-41). London & New York: Routledge.
  • Fischer-Lichte, E. & Jo Riley. (1997). The Show and the Gaze of Theatre: A European Perspective. Iowa City: University of Iowa Press.Fischer-Lichte, E. (2009). Interweaving Cultures in Performance: Different States of Being In-Between. New Theatre Quarterly. 25(4), 391-401.
  • Fischer-Lichte, E. (2014). The Routledge Introduction to Theatre and Performance Studies. (Minou Arjomand & Ramona Mosse Ed.). (Çev. Minou Arjomand). New York: Routledge.
  • Gardner, L. (2006, August 21). “Realism”. The Guardian. https://www.theguardian.com/stage/2006/aug/17/theatre.edinburgh2006.
  • Gillinson, M. (2011, June 21). Man-size cats threesomes and talking washing machines. http://www.culturewars.org.uk/index.php/ site/article/man-size_cats_toilet_threesomes_and_talking_washing_machines/
  • Grochala, S. L. (2011). Seriousness, Structure and the Dramaturgy of Social Life: The Politics of Dramatic Structure in Contemporary British Playwriting 1997-2011. Queen Mary University of London. Doktora Tezi.
  • Gurter, C. (2013, April 12). “Narrative”. Younder Theatre. https://www.ayoungertheatre.com/review-narrative-anthony-neilson-royal-court-theatre/
  • Harpin, A. (2017). “Dirty Realism”. The theatre of Anthony Neilson. (Trish Reid Ed.). London: Bloomsbury.
  • Hutton, D. (2013, April 21). “Narrative”. https://danhutton.wordpress.com/ 2013/04/21/narrative-by-anthony-neilson/
  • Innes, C. & M. Shevtsova. (2013). The Cambridge Introduction to Theatre Directing. Cambridge: Cambridge University Press. 77-86.
  • Jerrigan, D. (2008). Postmodern Tipping Points. In D. K. Jerrigan (Ed.), Drama and the Postmodern: Assessing the Limits of Metatheatre. Amherst: Cambria Press.
  • Karacabey, S. (2006). Modern sonrası tiyatro ve Heiner Müller. Ankara: De Ki.
  • Lehmann, H. T. (2006). Postdramatic theatre. (Çev. Karen Jürs-Munby). London & New York: Routledge.
  • Logan, B. (2004, August 14). “Everyday Madness”. The Guardian. https://www.theguardian.com/stage/2006/aug/14/theatre.edinburgh20062
  • Fisher, M., (2006, August 27). “Realism”, Variety, https://variety.com/2006/legit/reviews/realism-1200513952/
  • Marmion, P. (2013, April 12). “Narrative: An extraordinary surreal parable of modern life”. MailOnline. https://www.dailymail.co.uk/tvshowbiz/article-2307869/Narrative-An-extraordinary-surreal-parable-modern-life.html
  • Maxwell, D. (2011, June 17). “Realism”. The Times. https://www.bloomsbury.com/us/realism-9781408157183/
  • Neilson, A. (2008). Plays 2. London: Bloomsbury Publishing.
  • Neilson, A. (2014). Contemporary Scottish plays: Bullet Catch, The Artist Man and The Mother Woman, Narrative, Rantin. (Trish Reid Ed.), London: Methuen.
  • Neilson, A. (2020). “Introduction”, Plays 3. https://books.google.com.tr/books?id=VqJ-DwAAQBAJ&printsec=frontcover &dq=anthony+neilson+plays+3&hl=tr&sa=X&ved=0ahUKEwjgw73E1qvpAhWLfZoKHcLQAhUQ6AEIJzAA#v=onepage&q=anthony%20neilson%20plays%203&f=false
  • Nutku, Ö. (2001). Dram sanatı: Tiyatroya giriş. İstanbul: Kabalcı Yayınları.
  • O’Connor, K. (2013, April 12). “Narrative”. Culture Theatre. https://www.theupcoming.co.uk/2013/04/12/theatre-review-narrative-at-the-royal-court-theatre/
  • Peter, J. (2006, August 20). “Battling with elements”. Sunday Times. https://www.thetimes.co.uk/article/edinburgh-battling-with-the-elements-pdh2sts3rpx
  • Peters, J. (2013). Narration and Dialogue in Contemporary British and German-Language Drama (Texts-Translations-Mise-en-scène). (Doktora Tezi). University of Exeter.
  • Prophet, B. B. (1986). Aspects of traditional Chinese Theatre in the plays of Bertolt Brecht. (PhD Dissertation). University of Michigan.
  • Rădulescu, C. (2018). Towards a hybrid theatre. Editura ARTES, 25. 259-268.
  • Reid, T. (2011). Post-Devolutionary drama. In I. Brown (Ed.), The Edinburgh companion to Scottish drama (pp.188-199). Edinburgh: Edinburgh University Press.
  • Reid, T. (2017). The theatre of Anthony Neilson. London: Bloomsbury.
  • Shakespeare, W. (2013). Nasıl hoşunuza giderse, (Çev. Özdemir Nutku), İstanbul: Türkiye İş Bankası Kültür Yayınları.
  • Sierz, A. (2010a, February 16). “New writing in British theatre today”. New Writing, Playwritings, Transcripts. http://www.theatrevoice.com/audio/new-writing-in-british-theatre-today/
  • Sierz, A. (2010b). The Methuen drama book of 21st century British theatre. London: Methuen.
  • Sierz, A. (2011, June 15). “Realism”. Soho Theatre. http://www.sierz.co.uk/reviews/realism-soho-theatre/
  • Spencer, C. (2006, August 17). “What men are really like”. Telegraph. http://www.telegraph.co.uk/culture/theatre/3654592/What-men-are-really-like.html
  • Taxidou, O. (1998). The Mask: A Periodical Performance by Edward Gordon Craig. Amsterdam: Harwood Academic Publishers.
  • Tian, M. (2016). “Authenticity and Usability, or Welding the Unweldable”: Meyerhold’s Refraction of Japanese Theatre”. Asian Theatre Journal. 33(2). 310-346.
  • Trueman, M. (2013, April 6). “The uncertain stage: Anthony Neilson”. Financial Times, http://matttrueman.co.uk/2013/04/the-uncertain-stage-anthony-neilson.html.
  • Turner, J. & Synne Behrndt. (2008). Dramaturgy and performance. Basingstoke: Palgrave Macmillan.
  • Woodruff, P. (2003). “Theatre”. The Oxford handbook of aesthetics. (Jerrolf Levinson Ed.), Oxford: Oxford University Press.
Toplam 48 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Uygulamalı Tiyatro
Bölüm Makaleler
Yazarlar

Gamze Şentürk 0000-0002-5097-7739

Yayımlanma Tarihi 30 Haziran 2022
Gönderilme Tarihi 24 Mayıs 2021
Kabul Tarihi 26 Aralık 2021
Yayımlandığı Sayı Yıl 2022 Cilt: 39 Sayı: 1

Kaynak Göster

APA Şentürk, G. (2022). Anthony Neilson’ın Realism ve Narrative Adlı Oyunlarında Melezlik. Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 39(1), 330-346. https://doi.org/10.32600/huefd.942236


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