Alternatif Etik Teorileri: Tom Stoppard’ın Professional Foul Oyunu

Öz

Bireysel özgürlük kavramı her zaman insan zihnini meşgul etmiş ve edebiyat dahil hemen hemen bütün sanatlarda önemli bir yere sahip olmuştur. Tiyatro da özgürlük kavramına büyük önem vermiştir; çünkü sahne geleneksel olarak yaşamın bireysel ve toplumsal yönü üzerinde, bireysel haklar ve özgürlük kavramları da göz önüne alınarak durulan bir yer olmuştur. Çağdaş İngiliz tiyatrosunun seçkin temsilcilerinden olan Tom Stoppard, Professional Foul (Kasti Faul) adlı oyununda totaliter rejimlerdeki bireysel özgürlük olgusu üzerinde durur ve bu rejimlerde aynı konunun birey ve devlet tarafından farklı yorumlanabileceğini, bunun da insan deneyiminin en geleneksel kavramlarından olan etik olgusunun farklı yorumlanmasına neden olabileceğini belirtir.

Anahtar Kelimeler

• Tom Stoppard, bireysel etik, devlet etiği

Alternative Theories of Ethics: Tom Stoppard’s Professional Foul

Öz

The issue of individual freedom has always occupied human mind and has taken a significant place in almost art forms including literature. Drama, too, has given great prominence to the concept of freedom because the scene has traditionally been a place where individual and social aspects of life have been considered with a focus on individual rights and freedom. Tom Stoppard, a distinguished representative of modern British drama, dwells on the particulars of individual freedom in totalitarian regimes in Professional Foul, and notes that individual and state ethics may interpret the same issue in different ways, which ultimately leads to opposing interpretations of one of the most traditional concepts of human experience on earth: ethics

Anahtar Kelimeler

• Tom Stoppard, individual ethics, state ethics

Kaynakça

1. Bull, John. (2002). “Tom Stoppard an Politics”, The Cambridge Compaion to Tom Stoppard, Edited by Katherine E. Kelly. Cambridge: Cambridge University Press.
2. Cobley, Evelyn. (1984). “Catastrophe Theory in Tom Stoppard’s Professional Foul”, Contemporary Literature, Spring 1984, Vol. 25, Issue 1.
3. Delaney, Paul. (1990). Tom Stoppard: The Moral Vision of the Major Plays. Hong Kong: The Macmillan Pres Ltd.
4. Delaney, Paul. (1990). Tom Stoppard: The Moral Vision of the Major Plays. Hong Kong: The Macmillan Pres Ltd.
5. Fleeming, John. (2001). Stoppard’s Theatre: Finding Order amid Chaos. Austin: University of Texas Pres.
6. Gabbard, Lucina P. (1982). Tom Stoppard’s Plays. New York: The Whitston Publishing Company.
7. Hebert, Hugh. (1997). “A Playwright in Undiscovered Country”, Tom Stoppard in Conversation. Ed. by. Paul Delaney. Ann Arbor: The University of Michigan Pres.
8. Hodgson, Terry. (2001). “Ethics and Politics in Eastern Europe”, The Plays of Tom Stoppard for Stage, Radio, TV and Film. Edited by Terry Hodgson. Cambridge: Icon Boks.

9. Hudson, Roger., Itzin, Catherine.,and Trussler, Simon. (1997). “Ambushes for the Audience: Towards a High Comedy of Ideas”,From Theatre Quarterly 4, in Tom Stoppard in Conversation. Ed. By. Paul Delaney. Ann Arbor: The University of Michigan Pres.
10. Jenkins, Anthony. (1987). The Theatre of Tom Stoıppard. Cambridge: Cambridge University Pres.
11. Sammells, Neil. (1988). Tom Stoppard: The Artist as Critic. London: The Macmillan Pres Limited. Sandal, Roger. (Jan/Feb 1995). “Tom Stoppard’s Progress”, Quadrant. Vol. 39, Issue 1/2.
12. Shulman, Milton. (1997). “The Politicizing of Tom Stoppard”, Tom Stoppard in Conversation. Ed. by. Paul Delaney. Ann Arbor: The University of Michigan Pres.
13. Stoppard, Tom. (1983). Professional Foul, Tom Stoppard: Plays 3. Contemporary Classics. London: Faber and Faber.
14. Stoppard, Tom. (1983). “Introduction”, Tom Stoppard: Plays 3 (A Seperate Peace . Teeth . Another Moon Called Earth . Neutral Ground . Professional Foul . Squaring the Circle), Contemporary Classics. London: Faber and Faber.