Çıkış Yok: Alan Ayckbourn’un Oyunlarında Evliliğe Mahkum Edilmişler: Diğer Yarım Nasıl Sever ve Bahçe

Yıl 2023, Sayı: 51, 408 - 420, 31.08.2023

Eda Bayrakçı

https://doi.org/10.52642/susbed.1290179

Öz

Geleneksel komedi unsurlarını kullanan Alan Ayckbourn, her ne kadar bir fars yazarı olarak tasvir edilebilse de, How the Other Half Loves ve Garden, gelenekleri yıkarak evlilik bağı içinde mağdur olan evli çiftlerin trajedisine dönüşür. İlk bakışta, stereotip olarak çizilen karakterler, bireysellik ve derinlik duygularını içeren monologları aracılığıyla evliliğe hapsolmuş karakterlere dönüşür. Alan Ayckbourn, orta sınıf evliliğindeki çaresizliği sahnede birden fazla kapana kısılmış evli çift modeliyle göstermek amacıyla zaman ve mekanın yer değiştirmesini kullanmakta ustadır. Evlilik doyumsuzluğu, ihanet, yalnızlık, iletişimsizlik, çiftler arasındaki yabancılaşma modern dünyada son derece ciddi sorunlar olsa da Alan Ayckbourn'u çağdaşları arasında öne çıkaran becerisi bu sorunu yalın ve komik bir dille ortaya koymasıdır. Ayckbourn, evli çiftlerin maskelerini ve ikiyüzlülüklerini bulundukları alana göre değişen farklı perspektiflerden gösterir. Ev, evlilik bağının mahkumlarının kapana kısıldığı alan olarak çizilirken, bahçe hem kelimenin tam anlamıyla hem de mecazi olarak evlilik mahkumların evlilik hapishanesinin yüklerinden ve zorluklarından kaçabilecekleri alan olarak resmedilmiştir. Bu çalışmanın amacı, Alan Ayckbourn'un gözlem yeteneği ile gelenekleri yıkmak için geleneksel yöntemler kullanma becerisini birleştirerek, gerçek evliliklerde görülen evlilikte doyumsuzluk, aldatma ve gerçeklerden kaçma tavırlarını eserlerinde konu ederek, Ayckbourn karakterleri ile bunları canlı bir şekilde eserlerinde sunduğunu göstermektir.

Anahtar Kelimeler

Alan Ayckbourn, How the Other Half Loves, The Garden, Evlilikte Doyumsuzluk, Aldatma, Kaçış

No-Way Out: Being Entrapped in Wedlock Plays of Alan Ayckbourn: How the Other Half Loves and The Garden

Öz

Alan Ayckbourn using traditional devices of farcical comedy can be depicted as a farceur, yet via breaking the conventions, How the Other Half Loves and The Garden turn into a tragedy of the married who became victims within their dissatisfactory marriage. The characters initially drawn as stereotypes develop into characters entrapped in marriage through their monologues including emotions. Ayckbourn has a mastery in employing displacement of time and place to illustrate the desperation in middle-class marriage via modelling entrapped married couples on stage. Although marital dissatisfaction, infidelity, lack of communication between couples are serious problems in modern world, Ayckbourn’s presenting this problem humorously makes him outstanding among his contemporaries. Ayckbourn visualizes hypocritical faces of the married from different perspectives changing in accordance with the sphere. House is the sphere where prisoners of marriage bond are trapped while garden depicted as the outside of marriage both literally and metaphorically is the sphere where married imprisoners can escape from the burdens and the hardships of marriage. The purpose of this paper is to show central themes of marital dissatisfaction, infidelity and escapists manners of Ayckbourn’s characters illustrated vividly by Ayckbourn through his skillful observation and employing traditional devices to break the conventions.

Anahtar Kelimeler

Alan Ayckbourn, How the Other Half Loves, The Garden, Marital Dissatisfaction, Infidelity, Escapism

Kaynakça

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