A comparative analysis of in the burning darkness and scorpion as political theather texts

Theatre is not merely an aesthetic form of art; it also serves as a potent instrument for social critique and transformation. This thesis, grounded in the theoretical framework of political theatre, explores the impact of the Spanish Civil War and the 1980 military coup in Turkey on individuals. These two historical events represent pivotal ruptures that have significantly influenced the manifestation of social decay and the forms of resistance within their respective nations. Political theatre, as a reflection of such societal traumas, does not only trace the imprints of repressive regimes but also critically engages with the modes of resistance and identity formation developed by individuals in response to these oppressive forces. Political theatre, in this regard, aims to shift the audience from passive spectators to active thinkers, positioning them as potential agents of social change. Boal's emphasis on direct audience participation within the actor-audience relationship, constitutes key element of political theatre. Antonio Buero Vallejo's In the Burning Darkness and Eşber Yağmurdereli's Scorpion engage with the allegorical transformation of these political ruptures and the deleterious effects of totalitarian regimes on individuals. Through their symbolic frameworks, these plays emerge as spaces of political resistance. The metaphors of blindness and scorpionization, used to evoke themes of alienation, illustrate that these works not only reflect the social and political realities of their contexts but also actively call for resistance to these realities. The primary objective of this study is to evaluate these plays within the theoretical context of political theatre and to delineate the contribution of art to the mechanisms of societal change.