Caryl Churchill’in Top Girls ve Timberlake Wertenbaker’ın Our Country’s Good adlı oyunlarında Tarihin yeniden yorumlanması ve Kadın Kimliğinin Yeniden Yapılanması

Yıl 2018, Cilt: 26 Sayı: 3, 721 - 728, 15.05.2018

Ayça Ülker Erkan

https://doi.org/10.24106/kefdergi.421663

Öz

Bu çalışmanın amacı Caryl Churchill’in Top Girls ve Timberlake Wertenbaker’ın Our
Country’s Good adlı
oyunlarında kadınların değişmez pozisyonlarını göstermek amacıyla marjinal
kadın kimliklerinin ve tarihin nasıl yeniden yorumlandığını incelemektir. Bu
çalışma, kadın öznelliğinin keşfedilmesiyle birlikte kadın kimliklerinin
temsilini, “kişisel olan politiktir” feminizmi ve ataerkil toplumda yeni bir kadın
özünün kuruluşunu tartışır. Hem Churchill hem de Wertenbaker oyunlarını
yazarken tarihi konulara ve geçmiş zamana dikkat çekmiştirler. 

Anahtar Kelimeler

kadın tiyatrosu ve tarihi, kadın kimlikleri, sosyalist feminizm, kişisel olan politiktir.

Reinterpreting History and Restructuring Female Identities in Caryl Churchill’s Top Girls and Timberlake Wertenbaker’s Our Country’s Good.

Öz

The purpose of this study is to examine representation
of marginal female identities and how history is reinterpreted to demonstrate
the constant position of women in Carly Churchill’s play Top Girls and Timberlake Wertenbaker’s play Our Country’s Good. It discusses the representation of women
identities with an exploration of female subjectivity, “personal is political”
feminism and the establishment of a new female self in a patriarchal society.
Both Churchill and Wertenbaker draw attention to historical subjects and past
time, which make the history play an important role in writing their dramas. 

Anahtar Kelimeler

women’s theatre and history, women identities, socialist feminism, personal is political

Kaynakça

• Beauvoir, S. (2011). The Second Sex. (Trans. C. Borde and S. Malovany-Chevallier). New York, NY: Vintage Books.
• Betsko, K. and Koenig, R. (1987). Interviews with Contemporary Women Playwrights. New York, NY: Beech Tree Books, 75-84.
• Bimberg, C. (1997/98). Caryl Churchill’s Top Girls and Timberlake Wertenbaker’s Our Country’s Good as Contributions to a Definition of Culture. Connotations, 7(3), 399-416.
• Brewer, M. (1999). Race, Sex, and Gender in Contemporary Women’s Theater: The Construction of Woman. Brighton: Sussex Academic Press.
• Brown J. (1998). Caryl Churchill’s Top Girls Catches the Next Wave. In Carly Churchill: A Case Book ed. P. Randall. London: Garland Press, 117-131.
• Carlson, S. (1993). Language and Identity in Timberlake Wertenbaker’s Plays. In The Cambridge Companion to Modern British Women Playwrights (eds. E. Aston and J. Reinelt. Cambridge: Cambridge University Press, 134-149.
• Churchill, C. (1996). Plays: 2 Softcops, Top Girls, Fen, Serious Money. London: Bloomsburry Methuen Drama.
• Cohn, R. (1991). Spliting Images of the Mind. In Retreats from Realism in Recent English Drama. Cambridge: Cambridge University Press, 128-160.
• Cornut, C. and D’Arcy G. (1995). “The Personal is Political” in Caryl Churchill’s Top Girls: Parable for the Feminist Movement in Thatcher’s Britain. In Telling Histories: Narrativizing History, Historicizing Literature (ed. S. Onega) Atlanta, GA: Rodopi, 103-115.
• Foster, V. (1998/99). The Uses of History in Contemporary Feminist Drama: A Response to Christiane Bimberg, Connotations 8 (2), 249-57.
• Gömceli, N. (2010). Timberlake Wertenbaker and Contemporary British Feminist Drama. Palo Alto CA: Academica Press.
• Goodman, L. (1993). Contemporary Feminist Theatres: To Each Her Own. New York:Routledge.
• Innes, C. (2002). Modern British Drama: The Twentieth Century. Cambridge: Cambridge University Press.
• Keyssar, H. (1984). Feminist Theatre: An Introduction to Plays of Contemporary British and American Women. London: Macmillan.
• Mandle, J. D. (2016). How Political is the Personal?: Identity Politics, Feminism and Social Change. <https://userpages.umbc.edu/~korenman/wmst/identity_pol.html> (2016, March 5).
• Marohl, J. (1993). De-Realised Women: Performance and Identity in Churchill’s Top Girls. In Contemporary British Drama, 1970-90: Essays from Modern Drama, (ed. H. Zeifman and C. Zimmerman). Toronto: University of Toronto Press, 307-322.
• Nailsmith, B. (2005). Caryl Churchill. London: Methuen Student Edition.
• Rabey, D. I. (1994). Timberlake Wertenbaker, In International Dictionary of Theatre-2: Playwrights (ed. M. Hawkinsdady). London: St. James Press.
• Reinelt, J. (1996). Caryl Churchill and the Politics of Style. In The Cambridge Companion to Modern British Women Playwrights, (ed. W. Demastes). London: Greenwood, 406-415.
• Stephenson, H. and N. Langridge. (1997). Tiberlake Wertenbaker. In Rage and Reason: Women Playwrights on Playwrighting. London: Methuen, 136-145.
• Tycer, A. (2008). Caryl Churchill’s Top Girls. New York, NY: Continuum.
• Ülker Erkan, A. (2010). Caryl Churchill’ın Oyunlarında Feminist Yansımalar. İzmir: Meta Basımevi.
• Wandor, M. (1981). “Introduction to the first edition” In Carry on, Understudies: Theatre and Sexual Politics. London: Methuen, xix.
• Wertenbaker, T. (1996). Timberlake Wertenbaker Plays 1. London: Faber & Faber.