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“Sıradaki Ne Olacak?”: Edward Bond’un Eleven Vests/On Bir Atlet Oyununda ‘Dramatik Çocuk’un Yolculuğu

Yıl 2022, Cilt: 7 Sayı: 1, 94 - 109, 29.04.2022
https://doi.org/10.29110/soylemdergi.1067595

Öz

Bu çalışmada savaş sonrası İngiliz tiyatrosunun önde gelen oyun yazarlarından biri olan Edward Bond’un Eleven Vests/On Bir Atlet adlı oyunu çerçevesinde ‘Dramatik Çocuk’ kavramı incelenecektir. Oyun yazarı tarafından öne sürülen söz konusu kavram, bir birey olarak çocukların yetişkinler tarafından yapılandırılan toplumda kendi içinde ve çevresiyle yaşadığı çatışmaları ve bunun olası sonuçlarını ortaya koyan bir süreç olarak ön plana çıkmaktadır. Oyunun ana karakteri olan Öğrenci’nin okul ve orduda aldığı eğitim süresince edindiği deneyimler aracılığıyla kurgulanan bu süreç, günümüz dünyasında çocukların kendilerini gerçekleştiremedikleri ortamlarda yalnızlaştırılma, ötekileştirilme ve sonunda şiddet eylemlerinin tarafı olma durumlarını irdelemektedir. Yetişkinlerin duyarsız ve ikiyüzlü tutumlarını yansıtan oyun yazarı, geleceğin yetişkinlerinin edilgenleştirilmesini ve dolayısıyla tek taraflı uzlaşının egemen olduğu bir düzenin parçası haline getirilmesini eleştirir. Sorumluluklarını yerine getirmede başarısız olan yetişkinlere rağmen oyun yazarı, gelecek için umutsuz bir ileti sunmaktan kaçınmaktadır. Oyunun sonunda Öğrenci, artık bir yetişkin olarak kendine ait yeni bir dil ve insanlığın anlamının sürdürülebileceği bir düzen yaratma gerekliliğini yansıtır. Bu çalışmada söz konusu yaratım sürecinin oyun yazarı tarafından kavramlaştırılan ‘Dramatik Çocuk’ ifadesi çerçevesinde incelenmesi amaçlanmaktadır.

Kaynakça

  • Ada, U. & Parlak, E. (2020). Edward Bond’un At The Inland Sea Oyununda Zaman Olgusunun Kadın Karakterler Üzerinden Temsili. Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 10(1), 34-47.
  • Allen, D. (2007). ‘Going to the centre’: Edward Bond's the children. Studies in Theatre and Performance, 27(2), 115-136.
  • Allen, D., & Handley, A. (2017). Being human: Edward Bond’s theories of drama. Retrieved from https://czasopisma.uni.lodz.pl/textmatters/article/view/2245
  • Biçer, A. G. (2008). Edward Bond’un tarihsel oyunlarında tarihsel yaklaşım (Doktora tezi). Yükseköğretim Kurulu Ulusal Tez Merkezi’nden edinilmiştir. (Tez No. 254656)
  • Billingham, P. (2013). Edward Bond: A critical study. Great Britain: Palgrave Macmillan.
  • Bond, E. (1993). Tuesday. London: Methuen Drama.
  • Bond, E. (1994a). Lear. London: Methuen Drama.
  • Bond, E. (1994b). The importance of Belgrade theatre in education. SCYPT Journal, 27, 36-38.
  • Bond, E. (1996). A discussion with Edward Bond (Eds., K. Gohar, S. Kim & I. Stuart). Journal of Dramatic Theory and Criticism, 12(2), 57-68.
  • Bond, E. (1997a). The dramatic child. In E. Bond, Eleven vests & tuesday (1st ed., pp. 86-94). London: Methuen Drama.
  • Bond, E. (1997b). Eleven vests & tuesday. London: Methuen Drama.
  • Bond, E. (1997c). Four documents. In E. Bond, Eleven vests & tuesday (1st ed., pp. 86-94). London: Methuen Drama.
  • Bond, E. (1998a). Closing Belgrade theatre in education. In E. Bond, Letters 4 (pp. 115-117). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998b). Education, imagination and child. In E. Bond, Letters 4 (pp. 1-104). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998c). The importance of Belgrade theatre in education. In E. Bond, Letters 4 (pp. 110-114). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998d). Belgrade TIE. In E. Bond, Letters 4 (pp. 117-121). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (2000). Hidden plot: Notes on theatre and state. London: Methuen Drama.
  • Bond, E. (2001). Selections from the notebooks of Edward Bond Vol. 2 1980-1995 (1st ed.). London: Bloomsbury.
  • Bond, E. (2004). Modern drama and invisible object. The Journal of Drama in Education, 20(2), 24-32.
  • Bond, E. (2005). Something of myself. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 1-9). London: Trentham Books.
  • Bond, E. (2006). Introduction. Two cups In. E. Bond, Plays 8 (1st ed., pp.i-ii). London: Methuen Drama.
  • Bond, E. (2009). Commentary on war plays. In T. Prentki & S. Preston (Eds.), Applied theatre reader (1st ed., pp. 70-76). London & New York: Routledge.
  • Bond, E. (2011). Jesus and Hitler swept. In E. Bond, Plays 9 (1st ed., pp.ix-xxvi). London: Methuen Drama.
  • Bond, E. (2013). Letter to a playwright. Retrieved from www.edwardbonddrama.org
  • Bond, E. (2015a). Language is an octopus with a million leges. In D. Tuaillon, Edward Bond: The playwright speaks (1st ed., pp. 40-70). London: Bloomsbury.
  • Bond, E. (2015b). The one thing Shakespeare never does is despair. In D. Tuaillon, Edward Bond: The playwright speaks (1st ed., pp. 13-28). London: Bloomsbury.
  • Bond, E. (2015c). Objects are people. In D. Tuaillon, Edward Bond: The playwright speaks (1st ed., pp. 111-130). London: Bloomsbury.
  • Busby S. (2013). Representations of children, families and neo-families in British theatre 1993-2001 (Unpublished doctoral dissertation). University of London, England.
  • Cooper, C. (2005). Edward Bond and the Big Brum plays. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 49-83) London: Trentham Books.
  • Coult, T. (1977). The plays of Edward Bond. Great Britain: Methuen Drama.
  • Coult, T. (2005). Building the common future: Edward Bond and the rhythms of learning, In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 9-24). London: Trentham Books.
  • David, D. (2005). Edward Bond and dramatic child. London: Trentham Books.
  • Davis, D. (2007). Edward Bond ve eğitimde drama. Yaratıcı Drama Dergisi, 1(3), 79-101.
  • Hay, M., & Roberts, R. (1980). Bond: A study of his plays. London: Methuen Drama.
  • Katafiasz, K. (2005). Alienation is the “Theatre of Auschwitz”: an exploration of form in Edwad Bond’s theatre. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 25-48). London: Trentham Books.
  • Lane, D. (2010). Contemporary British drama. United Kingdom: Edinburgh University Press.
  • Nicholson, H. (2003). Acting, creativity and social justice: Edward Bond’s the children. Research in Drama Education, 8(1), 9-23.
  • Nicholson, H. (2009). Theatre & education. UK: Palgrave Macmillan.
  • Mangan, M. (1998). Edward Bond. United Kingdom: Northcote House Publishers Ltd.
  • Mulligan, J. (1993). Interview with Edward Bond. Retrieved from https://www.jimmulligan.co.uk/interview/edward-bond-tuesday
  • Nicolás, S. (2016). The trigger of the truth is in your hands: Conversation with Edward Bond. Contemporary Theatre Review, 26(2), 258-266.
  • Parlak, E. (2018). Edward Bond, The children, sevgi ve şiddet. Erzincan Üniversitesi Sosyal Bilimler Enstitüsü Dergisi (ERZSOSDE) (XI)I, 305-312
  • Saunders, G. (2004). Edward Bond and the celebrity of exile. Theatre Research International, 29(3), 256-266.
  • Stuart I. (1998). Preface. In E. Bond, Letters 4 (1st. Ed., pp. xi-xiv). Amsterdam: Harwood Academic Publishers.
  • Takkaç, M., & Biçer, A. G. (2009). Edward Bond’s play for children: Education for sustainable development and the need for Theatre in Education. Retrieved from https://www.researchgate.net/publication/277148686_Edward_Bond's_Play_for_Children_Education_for_Sustainable_Development_and_the_Need_for_Theatre_in_Education
  • Trussler, S. (1976). Edward Bond. Essex: Longman Group Ltd.
  • Tuaillon, D. (2015). Edward Bond: The playwright speaks. London: Bloomsbury.

“What Will It Be Next?”: The Process of ‘Dramatic Child’ in Edward Bond’s Eleven Vest

Yıl 2022, Cilt: 7 Sayı: 1, 94 - 109, 29.04.2022
https://doi.org/10.29110/soylemdergi.1067595

Öz

In this study, the concept of ‘Dramatic Child’ will be examined within the framework of the play, Eleven Vests written by Edward Bond, one of the prominent playwrights of post-war British theatre. The concept put forward by the playwright comes to the fore as a process that reveals the conflicts experienced by children as individuals in society − structured by adults − with their environment. The process, which is fictionalized through the main character’s (Student) experiences during his training at school and in the army, scrutinizes the situations in which children are isolated, marginalized and eventually become perpetrators/victims of violence in today's world which does not allow them to realize themselves. Reflecting the insensitive and hypocritical attitudes of adults, the playwright criticizes the social order which converts children into passive individuals and thus makes them part of an order dominated by unilateral consensus. Despite the fact that adults failing to fulfill their responsibilities, the playwright avoids presenting a hopeless message for the future. At the end of the play, Student, now an adult, reflects the need to create a new language of his own and an order in which the meaning of humanity can be sustained. In this study, it is aimed to analyze this creation process within the framework of ‘Dramatic Child’ conceptualized by the playwright.

Kaynakça

  • Ada, U. & Parlak, E. (2020). Edward Bond’un At The Inland Sea Oyununda Zaman Olgusunun Kadın Karakterler Üzerinden Temsili. Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 10(1), 34-47.
  • Allen, D. (2007). ‘Going to the centre’: Edward Bond's the children. Studies in Theatre and Performance, 27(2), 115-136.
  • Allen, D., & Handley, A. (2017). Being human: Edward Bond’s theories of drama. Retrieved from https://czasopisma.uni.lodz.pl/textmatters/article/view/2245
  • Biçer, A. G. (2008). Edward Bond’un tarihsel oyunlarında tarihsel yaklaşım (Doktora tezi). Yükseköğretim Kurulu Ulusal Tez Merkezi’nden edinilmiştir. (Tez No. 254656)
  • Billingham, P. (2013). Edward Bond: A critical study. Great Britain: Palgrave Macmillan.
  • Bond, E. (1993). Tuesday. London: Methuen Drama.
  • Bond, E. (1994a). Lear. London: Methuen Drama.
  • Bond, E. (1994b). The importance of Belgrade theatre in education. SCYPT Journal, 27, 36-38.
  • Bond, E. (1996). A discussion with Edward Bond (Eds., K. Gohar, S. Kim & I. Stuart). Journal of Dramatic Theory and Criticism, 12(2), 57-68.
  • Bond, E. (1997a). The dramatic child. In E. Bond, Eleven vests & tuesday (1st ed., pp. 86-94). London: Methuen Drama.
  • Bond, E. (1997b). Eleven vests & tuesday. London: Methuen Drama.
  • Bond, E. (1997c). Four documents. In E. Bond, Eleven vests & tuesday (1st ed., pp. 86-94). London: Methuen Drama.
  • Bond, E. (1998a). Closing Belgrade theatre in education. In E. Bond, Letters 4 (pp. 115-117). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998b). Education, imagination and child. In E. Bond, Letters 4 (pp. 1-104). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998c). The importance of Belgrade theatre in education. In E. Bond, Letters 4 (pp. 110-114). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998d). Belgrade TIE. In E. Bond, Letters 4 (pp. 117-121). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (2000). Hidden plot: Notes on theatre and state. London: Methuen Drama.
  • Bond, E. (2001). Selections from the notebooks of Edward Bond Vol. 2 1980-1995 (1st ed.). London: Bloomsbury.
  • Bond, E. (2004). Modern drama and invisible object. The Journal of Drama in Education, 20(2), 24-32.
  • Bond, E. (2005). Something of myself. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 1-9). London: Trentham Books.
  • Bond, E. (2006). Introduction. Two cups In. E. Bond, Plays 8 (1st ed., pp.i-ii). London: Methuen Drama.
  • Bond, E. (2009). Commentary on war plays. In T. Prentki & S. Preston (Eds.), Applied theatre reader (1st ed., pp. 70-76). London & New York: Routledge.
  • Bond, E. (2011). Jesus and Hitler swept. In E. Bond, Plays 9 (1st ed., pp.ix-xxvi). London: Methuen Drama.
  • Bond, E. (2013). Letter to a playwright. Retrieved from www.edwardbonddrama.org
  • Bond, E. (2015a). Language is an octopus with a million leges. In D. Tuaillon, Edward Bond: The playwright speaks (1st ed., pp. 40-70). London: Bloomsbury.
  • Bond, E. (2015b). The one thing Shakespeare never does is despair. In D. Tuaillon, Edward Bond: The playwright speaks (1st ed., pp. 13-28). London: Bloomsbury.
  • Bond, E. (2015c). Objects are people. In D. Tuaillon, Edward Bond: The playwright speaks (1st ed., pp. 111-130). London: Bloomsbury.
  • Busby S. (2013). Representations of children, families and neo-families in British theatre 1993-2001 (Unpublished doctoral dissertation). University of London, England.
  • Cooper, C. (2005). Edward Bond and the Big Brum plays. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 49-83) London: Trentham Books.
  • Coult, T. (1977). The plays of Edward Bond. Great Britain: Methuen Drama.
  • Coult, T. (2005). Building the common future: Edward Bond and the rhythms of learning, In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 9-24). London: Trentham Books.
  • David, D. (2005). Edward Bond and dramatic child. London: Trentham Books.
  • Davis, D. (2007). Edward Bond ve eğitimde drama. Yaratıcı Drama Dergisi, 1(3), 79-101.
  • Hay, M., & Roberts, R. (1980). Bond: A study of his plays. London: Methuen Drama.
  • Katafiasz, K. (2005). Alienation is the “Theatre of Auschwitz”: an exploration of form in Edwad Bond’s theatre. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 25-48). London: Trentham Books.
  • Lane, D. (2010). Contemporary British drama. United Kingdom: Edinburgh University Press.
  • Nicholson, H. (2003). Acting, creativity and social justice: Edward Bond’s the children. Research in Drama Education, 8(1), 9-23.
  • Nicholson, H. (2009). Theatre & education. UK: Palgrave Macmillan.
  • Mangan, M. (1998). Edward Bond. United Kingdom: Northcote House Publishers Ltd.
  • Mulligan, J. (1993). Interview with Edward Bond. Retrieved from https://www.jimmulligan.co.uk/interview/edward-bond-tuesday
  • Nicolás, S. (2016). The trigger of the truth is in your hands: Conversation with Edward Bond. Contemporary Theatre Review, 26(2), 258-266.
  • Parlak, E. (2018). Edward Bond, The children, sevgi ve şiddet. Erzincan Üniversitesi Sosyal Bilimler Enstitüsü Dergisi (ERZSOSDE) (XI)I, 305-312
  • Saunders, G. (2004). Edward Bond and the celebrity of exile. Theatre Research International, 29(3), 256-266.
  • Stuart I. (1998). Preface. In E. Bond, Letters 4 (1st. Ed., pp. xi-xiv). Amsterdam: Harwood Academic Publishers.
  • Takkaç, M., & Biçer, A. G. (2009). Edward Bond’s play for children: Education for sustainable development and the need for Theatre in Education. Retrieved from https://www.researchgate.net/publication/277148686_Edward_Bond's_Play_for_Children_Education_for_Sustainable_Development_and_the_Need_for_Theatre_in_Education
  • Trussler, S. (1976). Edward Bond. Essex: Longman Group Ltd.
  • Tuaillon, D. (2015). Edward Bond: The playwright speaks. London: Bloomsbury.
Toplam 47 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Edebi Çalışmalar, Sanat ve Edebiyat
Bölüm EDEBİYAT / ARAŞTIRMA MAKALELERİ
Yazarlar

Uğur Ada 0000-0002-0346-0753

Erdinç Parlak 0000-0002-7184-8709

Yayımlanma Tarihi 29 Nisan 2022
Gönderilme Tarihi 3 Şubat 2022
Kabul Tarihi 29 Mart 2022
Yayımlandığı Sayı Yıl 2022 Cilt: 7 Sayı: 1

Kaynak Göster

APA Ada, U., & Parlak, E. (2022). “What Will It Be Next?”: The Process of ‘Dramatic Child’ in Edward Bond’s Eleven Vest. Söylem Filoloji Dergisi, 7(1), 94-109. https://doi.org/10.29110/soylemdergi.1067595