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CARYL CHURCHILL’IN DELİ ORMAN: ROMANYA’DAN BİR OYUN BAŞLIKLI ESERİNDE İDEOLOJİK DÖNÜŞÜM

Yıl 2021, Cilt: 14 Sayı: 33, 362 - 373, 15.03.2021
https://doi.org/10.12981/mahder.833285

Öz

Sosyal, siyasi ve kültürel bağlamlı gelişmelerin politik tiyatro üzerinde çok büyük etkisi vardır. Böylesi gelişmeler, içerik anlamında oyun yazarlarına ilham verici kaynaklar olarak katkıda bulunma potansiyeline sahiptir. Oyun yazarı Caryl Churchill, gerçek ile kurgusal senaryoları buluşturarak eserlerinde toplumsal ve siyasi gelişmelerden ve olaylardan yararlanmaktadır. Churchill, tarihsel gerçekliği edebî mirasa nasıl entegre ettiğinin somut bir örneği olan 1990 tarihli Deli Orman: Romanya’dan Bir Oyun başlıklı eserinde arka plan olarak 1989 Romanya Devrimi’ni kullanmaktadır. Churchill bu eserde, Bertolt Brecht’in epik tiyatrosundan ve birçok Brechtyen teknikten faydalanmaktadır. Bu teknikler arasında, müzik, dans, şarkılar ve vampir ve melekler gibi gerçeküstü unsurlar kanalıyla yabancılaştırma tekniği, epizodik yapı, birden çok rolde yer alma ve açık uçluluk yer almaktadır. Bu çalışma bu bağlamda, oyundan spesifik örnekler ve konu ile ilgili ikincil kaynaklara yapılan göndermeler üzerinden, Caryl Churchill’in Deli Orman oyunundaki epik tiyatro unsurlarını ortaya koyarak eserde yansıtılan 1989 Romanya Devrimi’nin doğasını tartışacaktır. Sonuç olarak, oyundaki bazı karakterler nezdinde devrimin gerçekten olup olmadığının netlik kazanmadığı ve bu karakterlerin çevrelerinde olup bitenleri anlamlandırmada ve içselleştirmede zorluk yaşadıkları ortaya konulacaktır. Bu tartışma ve yapısökümcü okuma aracılığı ile bu çalışma, insanların baskı altında nasıl farklı tutum ve yaklaşımlar gösterme eğiliminde olduklarını gösterecek ve önceden benimsenmiş bir söylemin geçerliliğini yitirmesinden sonra yeni bir söylemin yaratıldığını ifade edecektir. Çalışmanın nihai amacı ise, belirli bir dönem içerisindeki spefisik bir paradigmanın geçici doğasını, bakış açılarının çeşitliliğini ve katı bir tanımdan ziyade gerçeğin farklı yönlerini ortaya çıkarmaktır.

Kaynakça

  • Adiseshiah, S. (2005). Utopian space in Caryl Churchill’s history plays: Light shining in Buckinghamshire and Vinegar Tom. Utopian Studies, 16(1), 3-26.
  • Adiseshiah, S. (2013). The revolution will not be dramatized: The problem of mediation in Caryl Churchill's revolution plays. Hungarian Journal of English and American Studies, 19(2), 377-393.
  • Aston, E. (2001). Caryl Churchill. Glasgow: Northcote House.
  • Bahun-Radunović, S. (2008). History in postmodern theater: Heiner Müller, Caryl Churchill, and Suzan-Lori Parks. Comparative Literature Studies, 45(4), 446-470.
  • Balkin, J. M. (2010). Deconstruction. In Dennis Patterson (Ed.), A Companion to Philosophy of Law and Legal Theory (pp. 361-367). Oxford: Wiley-Blackwell.
  • Churchill, C. (2003). Plays: Icecream, Mad Forest, Thyestes, The Skriker, Lives of Great Poisoners, A Mouthful of Birds. London: Nick Hern.
  • Derrida, J. (1982). Margins of Philosophy. Chicago: Chicago University Press.
  • Eagleton, T. (1981). Marxism and deconstruction. Contemporary Literature, 22(4), 477-488. doi:10.2307/1207879
  • Esslin, M. (1961). Brecht: The man and his work. Garden City, N.Y., Anchor Books.
  • Garner, S. B. (1992). Mad Forest by Caryl Churchill. Theatre Journal, 44(3), 399-401.
  • Gültekin, Ö. K. (2018). History as a construct: Caryl Churchill’s Mad Forest, David Edgar’s Pentecost, and David Hare’s Stuff Happens, Ankara, Turkey: Hacettepe University Unpublished Doctoral Dissertation
  • Keyssar, H. (1983). The dramas of Caryl Churchill: The politics of possibility. The Massachusetts Review, 24(1), 198-216.
  • Kiebuzinska, C. O. (2001). Intertextual loops in modern drama. Madison: Fairleigh Dickinson University Press.
  • Kurdi, M. (2013). The dramatic achievement of Caryl Churchill and its potential influence. Hungarian Journal of English and American Studies, 19(2), 375-376.
  • McQuillan, M. (2000). Introduction: Five strategies for deconstruction. In Martin McQuillan (Ed.), Deconstruction: A reader (pp. 1-43). New York, U.S.: Routledge.
  • Montrose, L. (1986). Renaissance literary studies and the subject of history. English Literary Renaissance, 16(1), 5-12. Retrieved February 14, 2021, from http://www.jstor.org/stable/43447341
  • Morelli, H. M. (1998). Somebody sings: Brechtian epic devices in the plays of Caryl Churchill, Saskatoon, Canada: University of Saskatchewan Unpublished Doctoral Dissertation.
  • Morettini, D. S. (1994). Revolution and the fatally clever smile: Caryl Churchill’s Mad Forest. Journal of Dramatic Theory and Criticism, 9(1), 105-118.
  • Peacock, K. D. (1999). Thatcher’s theatre: British theatre and drama in the eighties. Westport: Greenwood.
  • Worthern, W. B. (1992). Modern drama and the rhetoric of theatre. California: California UP.
  • Yönkul, A. (2013). A Brechtian analysis of Caryl Churchill’s Mad Forest and Edward Bond’s Red, Black and Ignorant, Ankara, Turkey: Middle East Technical University Unpublished Master’s Thesis.

IDEOLOGICAL TRANSFORMATION IN CARYL CHURCHILL’S PLAY, MAD FOREST: A PLAY FROM ROMANIA

Yıl 2021, Cilt: 14 Sayı: 33, 362 - 373, 15.03.2021
https://doi.org/10.12981/mahder.833285

Öz

Contextual social, political and cultural developments have a substantial impact on political drama. These events have a potential to function as inspirational sources for the playwrights in terms of subject matter. Dramatist Caryl Churchill draws on social and political developments, merging reality with fictional scenarios. Churchill makes use of the 1989 Romanian Revolution in her play, Mad Forest (1990), a concrete example of how Churchill incorporates the historical reality into her literary legacy. In her discussion, she also draws on Bertolt Brecht’s epic theatre and numerous Brechtian techniques such as the concept of Alienation Effect by means of music, songs, and dance, and surreal elements like vampire and angel, episodic structure, multiple casting, and open-endedness. Through specific references to the play and relevant secondary sources, this study will, therefore, discuss the 1989 Romanian Revolution as portrayed in the play by highlighting the epic theatre elements used in Mad Forest, and demonstrate how it does not become clear to certain characters in the play whether the revolution has really taken place or not. Through this discussion, this article will also indicate people’s liability to manifest different attitudes and approaches under the influence of suppression, as a new discourse is reconstructed after the deconstruction of the initially adopted discourse. This analysis will ultimately expose the transitory nature of a specific paradigm within a specific period, the plurality of perspectives, and different facets of truth rather than one fixed definition.

Kaynakça

  • Adiseshiah, S. (2005). Utopian space in Caryl Churchill’s history plays: Light shining in Buckinghamshire and Vinegar Tom. Utopian Studies, 16(1), 3-26.
  • Adiseshiah, S. (2013). The revolution will not be dramatized: The problem of mediation in Caryl Churchill's revolution plays. Hungarian Journal of English and American Studies, 19(2), 377-393.
  • Aston, E. (2001). Caryl Churchill. Glasgow: Northcote House.
  • Bahun-Radunović, S. (2008). History in postmodern theater: Heiner Müller, Caryl Churchill, and Suzan-Lori Parks. Comparative Literature Studies, 45(4), 446-470.
  • Balkin, J. M. (2010). Deconstruction. In Dennis Patterson (Ed.), A Companion to Philosophy of Law and Legal Theory (pp. 361-367). Oxford: Wiley-Blackwell.
  • Churchill, C. (2003). Plays: Icecream, Mad Forest, Thyestes, The Skriker, Lives of Great Poisoners, A Mouthful of Birds. London: Nick Hern.
  • Derrida, J. (1982). Margins of Philosophy. Chicago: Chicago University Press.
  • Eagleton, T. (1981). Marxism and deconstruction. Contemporary Literature, 22(4), 477-488. doi:10.2307/1207879
  • Esslin, M. (1961). Brecht: The man and his work. Garden City, N.Y., Anchor Books.
  • Garner, S. B. (1992). Mad Forest by Caryl Churchill. Theatre Journal, 44(3), 399-401.
  • Gültekin, Ö. K. (2018). History as a construct: Caryl Churchill’s Mad Forest, David Edgar’s Pentecost, and David Hare’s Stuff Happens, Ankara, Turkey: Hacettepe University Unpublished Doctoral Dissertation
  • Keyssar, H. (1983). The dramas of Caryl Churchill: The politics of possibility. The Massachusetts Review, 24(1), 198-216.
  • Kiebuzinska, C. O. (2001). Intertextual loops in modern drama. Madison: Fairleigh Dickinson University Press.
  • Kurdi, M. (2013). The dramatic achievement of Caryl Churchill and its potential influence. Hungarian Journal of English and American Studies, 19(2), 375-376.
  • McQuillan, M. (2000). Introduction: Five strategies for deconstruction. In Martin McQuillan (Ed.), Deconstruction: A reader (pp. 1-43). New York, U.S.: Routledge.
  • Montrose, L. (1986). Renaissance literary studies and the subject of history. English Literary Renaissance, 16(1), 5-12. Retrieved February 14, 2021, from http://www.jstor.org/stable/43447341
  • Morelli, H. M. (1998). Somebody sings: Brechtian epic devices in the plays of Caryl Churchill, Saskatoon, Canada: University of Saskatchewan Unpublished Doctoral Dissertation.
  • Morettini, D. S. (1994). Revolution and the fatally clever smile: Caryl Churchill’s Mad Forest. Journal of Dramatic Theory and Criticism, 9(1), 105-118.
  • Peacock, K. D. (1999). Thatcher’s theatre: British theatre and drama in the eighties. Westport: Greenwood.
  • Worthern, W. B. (1992). Modern drama and the rhetoric of theatre. California: California UP.
  • Yönkul, A. (2013). A Brechtian analysis of Caryl Churchill’s Mad Forest and Edward Bond’s Red, Black and Ignorant, Ankara, Turkey: Middle East Technical University Unpublished Master’s Thesis.
Toplam 21 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Sanat ve Edebiyat
Bölüm Makaleler
Yazarlar

Emrah Atasoy 0000-0002-5008-2636

Yayımlanma Tarihi 15 Mart 2021
Gönderilme Tarihi 30 Kasım 2020
Yayımlandığı Sayı Yıl 2021 Cilt: 14 Sayı: 33

Kaynak Göster

APA Atasoy, E. (2021). IDEOLOGICAL TRANSFORMATION IN CARYL CHURCHILL’S PLAY, MAD FOREST: A PLAY FROM ROMANIA. Motif Akademi Halkbilimi Dergisi, 14(33), 362-373. https://doi.org/10.12981/mahder.833285