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A Postdramatic Reading: Misogyny in Simon Stephens’s Play Three Kingdoms

Yıl 2022, Cilt: 10 Sayı: 19, 171 - 189, 15.03.2022
https://doi.org/10.20304/humanitas.996615

Öz

In Poetics, Aristotle explains the first known framework of dramatic theatre in history, basing it on certain principles. The restrictive structure of these principles makes playwrights apply an understanding that prioritizes performance, and seek a theatrical aesthetic shaped according to the mentality of the present. In this sense, Postdramatic Theater (2006), which Lehmann puts forward, shows the realities of postmodern society and highlights the performance text created with active participation of audience and reader. Contemporary British playwright Simon Stephens, who presents the lives of postmodern individuals in his plays, draws attention as a leading playwright of the Postdramatic theatre. Stephens’s play Three Kingdoms, which was staged in three different countries and in three different languages, stands out as it contains the postdramatic elements put forth by Lehmann. The aim of this article is to examine the play Three Kingdoms by Simon Stephens, focusing on Postdramatic theater principles determined by Lehmann.

Kaynakça

  • Angelaki, V. (2014). Witness or accomplice? Unsafe spectatorship in the work of Anthony Neilson and Simon Stephens. In M. Aragay and E. Monforte (Ed.), Ethical speculations in contemporary British theatre (1. Edition) on (135-151). Basingstoke: Palgrave Macmillan.
  • Baudrillard, J. (1998). The consumer society: myths and structures. London: Sage.
  • Barnett, D. (2016). Simon Stephens: British playwright in dialogue with Europe. Contemporary Theatre Review, 26(3), 305-310.
  • Bolton, C. (2016). ‘Changing the conversation’: Simon Stephens, Sean Holmes, and Secret Theatre. Contemporary Theatre Review, 26(3), 337-344.
  • Burger, J.M. (2014). Personality. Boston: Cengage.
  • Fowler, B. (2016). ‘Draining the English Channel’: the European revolution in Three Kingdoms and three keynotes (by Simon Stephens, David Lan, and Edward Bond). Contemporary Theatre Review, 26(3), 328-336.
  • Holland, J. (2006). Misogyny: the world’s oldest prejudice. Philadelphia: Running Publication.
  • Hoydan, A. (2012, May 10). Three Kingdoms, Lyric Hammersmith. Postcards from the Gods. Retrieved July 19, 2021, from http://postcardsgods.blogspot.com/2012/05/three-kingdoms-lyric-hammersmith.html.
  • İlter, S. (2013). Mediatised dramaturgy: formal, critical and performative responses to mediatısation in British and Irish plays since the 1990s. (Unpublished Master’s Thesis) University of Sussex, Brighton.
  • Lehmann, H. T. (2006). Postdramatic theatre. Oxfordshire: Routledge.
  • Lehmann, H. T. (2016). Tragedy and dramatic theatre. Oxfordshire: Routledge.
  • Love, C. (2016). New perspectives on home: Simon Stephens and authorship in British theatre. Contemporary Theatre Review, 26(3), 319-327.
  • Nutku, Ö. (2000). Dünya tiyatrosu tarihi 1. İstanbul: Mitos Boyut.
  • Poll, M. (2016). When little is said and feminism is done? Simon Stephens, the critical blogosphere and modern misogyny. Contemporary Theatre Review. Available online: https://www.contemporarytheatrereview.org/2016/when-little-is-said-and-feminism-is-done/.
  • Reinelt, J. (2017). Is a trafficked woman a citizen? survival and citizenship in performance. In B. Dutt, J. Reinelt and S. Sahai (Ed.), Gendered citizenship: Manifestations and performance (1. Edition) on (237-254). New York: Palgrave Macmillan.
  • Sayın, G. (2016). Simon Stephens tiyatrosu: Dramatik metinden performans metnine. In D. Bozer (Ed.), Postdramatik tiyatro ve İngiliz tiyatrosu (1. Edition) on (115-143). İstanbul: Mitos Boyut.
  • Sierz, A. (2001). In-yer-face theatre: British drama today. London: Faber.
  • Stephens, S. (2015). Plays 4. London: Bloomsbury.
  • Trueman, M. (2012, May 13). Review: Three kingdoms, Lyric Hammersmith. Matt Trueman. Retrieved July 16, 2021, from http://matttrueman.co.uk/2012/05/review-three-kingdoms-lyric-hammersmith.html.
  • Zaroulia, M. (2016). The invisible other in excess: (dis)placing Europe in Simon Stephens’s Three Kingdoms. Contemporary Theatre Review, 26(3), 319-327.

Postdramatik Bir Okuma: Simon Stephens’ın Üç Krallık Oyununda Mizojini

Yıl 2022, Cilt: 10 Sayı: 19, 171 - 189, 15.03.2022
https://doi.org/10.20304/humanitas.996615

Öz

Aristoteles Poetika adlı eseri ile dramatik tiyatronun tarihte bilinen ilk çerçevesini belli ilkelere dayandırarak açıklar. Bu ilkelerin uzun yıllar süren sınırlayıcı yapısı, oyun yazarlarını performansa öncelik tanıyan bir anlayışı uygulamaya ve günün anlayışına göre biçimlenen yeni bir tiyatro estetiği aramaya iter. Bu anlamda Lehmann’ın ortaya attığı, Postdramatik Tiyatro (2006) postmodern toplumun gerçeklerini açık bir şekilde göstermeye çalışır ve izleyici ile okuyucunun da aktif katılımıyla oluşturulan performans metnini öne çıkarır. Oyunlarında günümüz postmodern bireylerinin gerçek yaşamlarından kesitler sunan çağdaş İngiliz oyun yazarlarından Simon Stephens, Postdramatik tiyatronun önde gelen oyun yazarlarından biri olarak dikkat çeker. Stephens’ın üç farklı ülkede ve üç farklı dilde sergilenen Üç Krallık oyunu, kurgulanmasında Lehmann’ın belirlediği postdramatik ögeleri barındırması açısından incelemeye değer bir eser olarak göze çarpar. Bu makalenin amacı, Simon Stephens’ın Üç Krallık oyununu Lehmann’ın belirlediği Postdramatik tiyatro ilkelerini merkeze alarak incelemektir.










Kaynakça

  • Angelaki, V. (2014). Witness or accomplice? Unsafe spectatorship in the work of Anthony Neilson and Simon Stephens. In M. Aragay and E. Monforte (Ed.), Ethical speculations in contemporary British theatre (1. Edition) on (135-151). Basingstoke: Palgrave Macmillan.
  • Baudrillard, J. (1998). The consumer society: myths and structures. London: Sage.
  • Barnett, D. (2016). Simon Stephens: British playwright in dialogue with Europe. Contemporary Theatre Review, 26(3), 305-310.
  • Bolton, C. (2016). ‘Changing the conversation’: Simon Stephens, Sean Holmes, and Secret Theatre. Contemporary Theatre Review, 26(3), 337-344.
  • Burger, J.M. (2014). Personality. Boston: Cengage.
  • Fowler, B. (2016). ‘Draining the English Channel’: the European revolution in Three Kingdoms and three keynotes (by Simon Stephens, David Lan, and Edward Bond). Contemporary Theatre Review, 26(3), 328-336.
  • Holland, J. (2006). Misogyny: the world’s oldest prejudice. Philadelphia: Running Publication.
  • Hoydan, A. (2012, May 10). Three Kingdoms, Lyric Hammersmith. Postcards from the Gods. Retrieved July 19, 2021, from http://postcardsgods.blogspot.com/2012/05/three-kingdoms-lyric-hammersmith.html.
  • İlter, S. (2013). Mediatised dramaturgy: formal, critical and performative responses to mediatısation in British and Irish plays since the 1990s. (Unpublished Master’s Thesis) University of Sussex, Brighton.
  • Lehmann, H. T. (2006). Postdramatic theatre. Oxfordshire: Routledge.
  • Lehmann, H. T. (2016). Tragedy and dramatic theatre. Oxfordshire: Routledge.
  • Love, C. (2016). New perspectives on home: Simon Stephens and authorship in British theatre. Contemporary Theatre Review, 26(3), 319-327.
  • Nutku, Ö. (2000). Dünya tiyatrosu tarihi 1. İstanbul: Mitos Boyut.
  • Poll, M. (2016). When little is said and feminism is done? Simon Stephens, the critical blogosphere and modern misogyny. Contemporary Theatre Review. Available online: https://www.contemporarytheatrereview.org/2016/when-little-is-said-and-feminism-is-done/.
  • Reinelt, J. (2017). Is a trafficked woman a citizen? survival and citizenship in performance. In B. Dutt, J. Reinelt and S. Sahai (Ed.), Gendered citizenship: Manifestations and performance (1. Edition) on (237-254). New York: Palgrave Macmillan.
  • Sayın, G. (2016). Simon Stephens tiyatrosu: Dramatik metinden performans metnine. In D. Bozer (Ed.), Postdramatik tiyatro ve İngiliz tiyatrosu (1. Edition) on (115-143). İstanbul: Mitos Boyut.
  • Sierz, A. (2001). In-yer-face theatre: British drama today. London: Faber.
  • Stephens, S. (2015). Plays 4. London: Bloomsbury.
  • Trueman, M. (2012, May 13). Review: Three kingdoms, Lyric Hammersmith. Matt Trueman. Retrieved July 16, 2021, from http://matttrueman.co.uk/2012/05/review-three-kingdoms-lyric-hammersmith.html.
  • Zaroulia, M. (2016). The invisible other in excess: (dis)placing Europe in Simon Stephens’s Three Kingdoms. Contemporary Theatre Review, 26(3), 319-327.
Toplam 20 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Tüm Sayı
Yazarlar

Cüneyt Özata 0000-0002-9179-9537

Yayımlanma Tarihi 15 Mart 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 10 Sayı: 19

Kaynak Göster

APA Özata, C. (2022). A Postdramatic Reading: Misogyny in Simon Stephens’s Play Three Kingdoms. HUMANITAS - Uluslararası Sosyal Bilimler Dergisi, 10(19), 171-189. https://doi.org/10.20304/humanitas.996615