Tiyatro oyunları
Bu konu başlığı altında 337 tez
The profane vs. The sacred in medieval theatre
This work aims to discuss the sacred and its representations in medieval drama by focusing on the character of the Devil in medieval plays. In this work; contrary to the notion that the Devil is a figure of profane and the first example of the secularization of the medieval drama; the Devil is taken as an example of representation of the sacred. This work consists two chapters. In section one, the researcher dealt with the the cognitive and social situation of medieval society. First, the dynamics that constitute the medieval society are discussed. Afterwards, the correlation between theatre and church is handled. In chapter two, the focus is on the character of the Devil. The concept of the Devil is in Medieval period is dealt with via oppositional thinking. In addition, The Devil in cycle plays; The Creation and The Fall of Angels, The Fall of Man, The Deliverance of Souls; is analysed to support the argument of this thesis.
Examining David Greig's plays in terms of post-colonialism
Postcolonial studies are one of the areas that have been on the rise since the Second World War. The source of these works is literary and cultural studies. One of the starting point elements of postcolonial studies is the situation of the victims. Rather than being interpreted from the eyes of the West, the events that have taken place are intended to be reflected from the eyes of the countries that have gained independence through the process of decolonization. The countries covered by these studies are usually Third World countries such as Asia and Africa. Although the decolonization processes of newly independent countries have been discussed in these studies, the United States is one of the countries covered in this field. The reason for this is that the end of the colonial period is effective. The postcolonial works also address the spiritual fatigue of nations, racism they are subjected to, the problems of identity, the pressures they are subjected to, the material situation of the people and the discrimination. It contributes to the explanation of all these problems by going to the root. 20. century. in the light of postcolonial studies, which have gained importance since the middle, racism activities started with slavery in American societies connected to internal colonialism, African Americans identity problems and civil rights are acquired through some famous works. One of the names that feature postcolonialism in his works is David Greig. This is clearly seen in works like "Europes, Damascus". Greig, who deals with the philosophical, psychological, literary and sociological situations that colonialism left behind, includes the exploited countries and the people living in these countries with a postcolonial ecocritical perspective.
Kıbrıs Türk tiyatrosunun toplumcu sesi: Bekir Kara
Bu çalışmada Bekir Kara'nın yayımlanmış ve yayımlanmamış tiyatro eserlerinin yapısalcı incelemesine yer verilmiştir. Kara'nın tiyatro eserlerini geniş bir perspektifte değerlendirebilmek için Kıbrıs Türk tarihine, tiyatro anlayışına ve oyunlarının tanıtımına açıklık getirilmiştir. Kara'nın bu doğrultuda otuz iki oyunu incelenerek içerisinde bulunduğu siyasi ve sosyal ortamın karşılığını tiyatrolarına yansıttığı tespit edilmiştir. Kıbrıs'ta 1963 yılında gerçekleşen Kanlı Noel olayı, Kıbrıs'ın İngiltere işgali altında kalması, EOKA teşkilatının eylemleri, Kıbrıs Türklerinin zorunlu göçlere mecbur edilmesi, 1974 yılında yaşanan Kıbrıs Türk Barış Harekâtı gibi durumlar Kara'nın tiyatro eserlerinde konu olarak yer almış ve milliyetçi kişileri ortaya çıkarmıştır. Kara, toplumun ona sundukları doğrultusunda Kıbrıs'ın toplumcu sesi olarak önemli bir konumda bulunmuştur. Kara, bilinenin aksine aynı zamanda bireysel muhtevalı oyunlar da kaleme almıştır. Özellikle 2000'li yıllardan sonra Kıbrıs'ın savaş ortamından çıkarak refah bir düzeye yükselmesiyle birlikte Kara'nın oyunlarında ekonomik sorunlar, ailelerinden ayrı büyüyen çocuklar, aile içi dinamikler, yozlaşan bürokrasi anlayışı ve gençleri eğitime teşvik eden konular yer bulmuştur. Bekir Kara, tiyatro türüyle yoğun bir şekilde ilgilenmiştir. Hem tiyatro eseri yazmış hem de yönetmenlik yapmıştır. Böylelikle Güzelyurt bölgesinde tiyatro faaliyetleri içerisinde bulunmasıyla sanat ortamının gelişmesini ve tiyatro alanında pek çok insanı yetiştirerek Kıbrıs Türk tiyatrosunun sürekliliğini sağlamıştır.
Yapısalcı eleştiri odağında Osman Türkay'ın tiyatroları üzerine bir inceleme
Osman Türkay, Kıbrıs Türk yazınının dünya çapında ünlenmiş, İngilizce yazdığı şiirlerle iki kez Nobel edebiyat ödülüne aday olmuş ve kitapları otuzdan fazla dilde yayımlanmış ozanı, tiyatro ve deneme yazarıdır. Şiirleriyle ödüller almış Türkay, Türk ve dünya yazınını, bilim, sanat ve felsefe alanında yapılmış çalışmaları da yakından izlemiş, önemli dergi ve gazetelerde çok sayıda eleştiri, deneme ve makale yazmıştır. Dünyanın pek çok ülkesinden çok sayıda ödüller almış Türkay'ın Piramit Üçlüsü adlı tiyatro eseri içinde birbirini tamamlayan ve Mısır tarihi ve mitolojisini konu alan "Sandıkta Ölüm", "Bir Kozmik Psikodram" ve "Kıyametten Sonra Da Savaş" adlı üç farklı oyun bulunmaktadır. Türkay'ın ikinci tiyatro eseri Ölümsüzlük Acısı, konusunu Babil ve Sümer mitolojisi ile Gılgameş Destanı'ndan almaktadır. Mitolojik, felsefi, psikanalitik, ekolojik, metinlerarası vb. okumalara da açık olan bu anlatıların yapısalcı yöntemle okunması, anlambirimlerin, anlambirimleri kuran yapıların ve dikotomilerin görünürlüğünün pekişmesi açısından yararlı bulunmuştur. İnsanlığın en eski söylenlerini, anlatılarını konu alan eserler, bu ilk anlatıları kıyamet sonrasına kadar genişletmiştir. Daha sonra doldurulacaktır.
"The Crisis of Utopia" in Edward Bond's The War Plays: Red, Black and Ignorant, The Tin Can People and Great Peace
The aim of this dissertation is to explore how Edward Bond's (1934- ) trilogy, The War Plays (1984) – comprising Red Black and Ignorant (1984), The Tin Can People (1984), and Great Peace (1985) – reflects the transformation of utopianism throughout history. To this end, Zygmunt Bauman's (1925-2017) classification of the historical transformation of utopianism is chosen to reveal Bond's scrutinisation of utopianism. Each of these three plays, with its eclectic dramaturgy combining elements from agit-prop, Bertolt Brecht's (1898-1956) epic theatre, and naturalistic theatre, criticises one form of utopianism through emphasising the devastating outcomes and consequent failure of it. The first play of the trilogy depicts a dystopian consequence that arises from a solid modern utopian philosophy, which prioritises progress and promises a flawless society through advanced scientific and technological innovations. The second play depicts a transition towards a postmodern and liquid consumerist utopian ideology, which elicits dissatisfaction among people owing to the emergence of a novel dystopian environment. The final play prompts inquiries into the plausibility of establishing a novel and just society in a post-liquidised world, which is scrutinised through a discussion on the loss of mental integrity because of a desire to turn back to old forms of being which Bauman called retrotopia. After the analysis, this study concludes that the trilogy in question can be categorised as an example of contemporary British political drama, which reflects the historical evolution of utopianism and scrutinises the feasibility of a utopia in the present-day post-liquidised, vaporised world, drawing upon Bauman's theory of liquid modernity and his ideas concerning the transformation of utopianism.
Disability and family in twenty-first century American drama
This dissertation analyzes John Belluso's Pyretown (2005), The Rules of Charity (2006), A Nervous Smile (2006), David Lindsay-Abaire's Good People (2011), Stephan Karam's The Humans (2015), Martyna Majok's Cost of Living (2018), Amy Herzog's Mary Jane (2018), and Lindsey Ferrentino's Amy and the Orphans (2019) and scrutinizes the ways contemporary American playwrights employ disability in relation to the myth of the flawless American family. The representation of disability on the American stage has always been a complicated one as disabled bodies were either used as metaphors or presented as freaks, victims, and villains. The plays examined in this dissertation, however, negotiate disability as a multifaceted experience. They portray family dynamics that changed in the twenty-first century while dissociating disability from stereotypical meanings. The playwrights dramatize the lived experience of disability, and they problematize ideologies that ostracize, pathologize, and oppress disabled individuals to initiate social, cultural, and political transformation in the United States. Since they criticize dehumanizing and exploitative social and political institutions using realism and the affective power of theater, these plays are referred to as the social problem plays of the twenty-first century. Each chapter exposes oppressive power relations and portrays the lived experience of disabled individuals without romanticizing or objectifying their bodies. Neoliberalism, class, problems in the healthcare and welfare systems, and the cult of normalcy are presented as the forces that put the family in a dysfunctional state whereas disability is depicted as a social, cultural, and political construction. Therefore, these plays are progressive and subversive with their truthful depictions of families with disabled members, showing that the problem is not disability but constructed normalcy, which forces families and individuals to conform to rigid definitions.
Yörük/Türkmen kültüründe Şamanizm etkilerinin sahne göstergeleri bağlamında yorumu ve bir uygulama
Şamanizm, Orta Asya'dan Anadolu'ya gelen konargöçer Yörük-Türkmen topluluklarda izlerine hala rastladığımız; Anadolu dışındaki birçok coğrafya ve kültürde de hala geniş ölçüde izleri görülen eski bir inanış biçimidir. Bu izler günümüzde konargöçer toplulukların kültüründe vegünlük yaşamında, ritüellerden, geleneklerden göreneklere, efsanelerden, destanlara, musikiye, el sanatlarına, doğal ilaçlardan şifalandırma yöntemlerine kadar ortak birçok benzerlik göstermektedir. Bu sanat çalışmasının temel amacı, Balıkesir-Edremit Körfez'i ve Kazdağı (İda Dağı) yöresi Yörük-Türkmen topluluklarda şamanist ögeleri bulmak, etkileşim noktalarını belirlemek ve benzerliklerini saptamaktır. Elde edilen göstergelerin yöreye ait Sarıkız Efsanesi'ni konu alan, araştırma- yorum-uygulama süreciyle paralel olarak Türel Ezici tarafından yazılan "İda'nın Azizesi Sarıkız'ın Hikayesi..." adlı orijinal metnin sahne performansıyla somutlanmasıdır. Metnin sahne uygulamasında çevre düzeni şaman ritüelinin Yörük-Türkmen kültüründe ve günlük yaşamında karşılığı olan gösterenler ile kurulmuştur. Uygulamanın dramaturgi ve reji yöntemi hikaye/destan anlatıcılığının teknik ve estetik özellikleri gözetilerek açık biçim, göstermeci üslup üzerinden oluşturulmuştur. Sahnelemede oyunculuk biçemi, oyuncuların bireysel ve toplu doğaçlamalarıyla elde edilerek, şamanın ses, söz, hareket kullanımının otantik hikaye/destan anlatıcılığındaki karşılıkları belirlenmiştir. Bu veriler ışığında Yörük-Türkmen kültüründe söz, ses, beden, hareket düzleminde şamanik yorum ve ifadenin olanakları araştırılmış, benzerlikler tespit edilerek şamanik göstergelerden oluşan bir sahne performansına ulaşılmıştır. Anahtar Sözcükler: Yörük-Türkmen, kültür, şamanizm, efsane, Sarıkız, performans
A Freudian reading of Harold Pinter's early plays: Neurotic characters in The Room, The Birthday Party, and The Caretaker
As a post-war dramatist, Harold Pinter (1930-2008) reflects the effects of trauma and suffering of the period following the Second World War through his enigmatic early plays by presenting characters who seemingly fall victim to neurosis. To comprehend the psychology of Pinter's characters and demystify his plays, Sigmund Freud's views on neurosis are drawn onto in this study. In light of Freud's perspectives on neurosis, this thesis aims to illustrate that Pinter's characters in The Room (1957), The Birthday Party (1957), and The Caretaker (1959) suffer from apprehension, constant fear, aggressive behaviour, solitude, catatonia, obsessions, and paranoia, in other words, neurotic disturbance primarily due to their unfulfilled unconscious desires, that is the unresolved Oedipal urge and the death drive, as well as society's restrictive forces on individuals; thus, the characters in the abovementioned plays are unable to harmonise with their environment. All of the three plays which are selected for this thesis encompass the Freudian elements at their cores. The introduction part gives information about Freudian psychoanalysis and focalises on the period following the Second World War and its traumatic effect on Pinter. Then, the first chapter delves into the impact of the repressed Oedipal and death desires on individuals in The Room. The second chapter, which is about The Birthday Party, analyses castration anxiety through the punishment of a man by the father figures. Lastly, the third chapter examines the desire to get rid of the father figure, in other words, parricide, in The Caretaker. Therefore, this thesis concludes that the individuals in Pinter's early plays fall into the grip of neurosis due to unsatisfied Oedipal and death urges as well as discontent caused by the suffocating effect of social norms. To encapsulate, with the help of the Freudian psychoanalytical perspective, the chaotic unconscious world of the characters is excavated, and it is clarified that they are caught in the vortex of menace, which creeps both into the external world and the depths of their unconscious.
Evolvement of the changeling figure in the selected Elizabethan and Jacobean plays
Changelings are terrorising figures in the beliefs and superstitions of the medieval period. These awe-inspiring figures of the fairy lore were believed to be fairies or inanimate objects left behind after a healthy infant is stolen by troublesome fairies. This belief in changelings, the precaution taken against them, as well as the rituals to get rid of them persisted well into the nineteenth century. While this figure's influence on English society is observable throughout the English history, its portrayals in the dramas of the Elizabethan and the Jacobean periods are worth attention as these representations display a shift from expressing the fears that had been persisting since the Middle Ages to presenting this figure as the embodiment of different ideas. The introduction chapter of this thesis examines the changeling figure in the context of the social history of the medieval and the early modern periods and its representations in literature to reveal its significance, and the fact that its representations were consistent with each other in the mentioned periods. In this context, the first chapter of this thesis analyses two plays from the Elizabethan period, the anonymous Misogonus (1560-77) and William Shakespeare's (1564 – 1616) A Midsummer Night's Dream (1595-96) and comes to the conclusion that the representations of the changeling figure in this period are consistent with folk narratives and legends that include this figure. To examine the differences between the representations of the changeling figure in two different periods, the second chapter conducts a comparative analysis of two Jacobean plays, The Changeling (1622) by Thomas Middleton (1580 – 1627) and William Rowley (1585 – 1626), and The Spanish Gypsy (1623) by Thomas Middleton, William Rowley, Thomas Dekker (1572 – 1632) and John Ford (1586 – 1639). As it is concluded in the second and Conclusion chapters of this study, the changeling figure is no longer represented in the context of fairy lore in the Jacobean period, instead, it evolves into the embodiment of different ideas such as change and transformation due to the influence of James I on the society and literature. Therefore, this study argues that the changeling figure experienced an evolvement in the Jacobean period, as it was separated from its roots in fairy lore, its connotations with the fear of losing an infant, and the superstitions accompanying the figure, and thereby presented as the embodiment of various ideas.
Sevim Burak Edebiyatı'nda "kültürel özne" ve "öteki" kavramının tezahürlerinin incelenmesi ve bir örnek eserde reji uygulaması
Bu sanat çalışması raporunda, yazdığı toplumsal arka planlı bireysel öyküleriyle ve yenilikçi sanat anlayışıyla 1950-1970 yılları arasında Cumhuriyet Dönemi Türk Edebiyatı'nın dikkat çeken isimlerinden biri olan Sevim Burak'ın renkli dünyasına ayna tutulmuş, "İşte Baş İşte Gövde İşte Kanatlar" adlı oyunu seçilerek reji uygulaması yapılmıştır. Bu inceleme boyunca kendimize çizdiğimiz yol ise "kültürel özne" ve "öteki" kavramlarının Burak'ın örtük anlatımında kendini gösteren tezahürlerini takip etmek olmuştur. Burak'ın metinlerinde yer alan dışlanmış, ötekileşmiş karakterlerin duyulmayan sesleri, dilin kırılmasıyla, parçalanmasıyla eserlerinde görünürleşip hissedilmektedir. Gerçeğin düşten ayırt edilemediği, zaman ve uzamın belirsizleştiği, geçmiş ve geleceğin iç içe geçtiği eserler ortaya koyan Burak, yaşadığı düzeni böyle eleştirmiş ve ortaya çıkardığı yapıtlarla "öteki"nin temsili olmuştur. Burak'ın sanatının tüm bu öze ve biçime ilişkin özellikleri göz önünde bulundurulduğunda şunu söyleyebiliriz ki yazarın serbest bir bilinç akışıyla meydana getirdiği dili anlamak, oyunlarında kullandığı kültürel metaforları çözümlemekten ve kendi yaşamının yansımaları olan eserlerinin tümünü birlikte değerlendirmekten geçer. Biz de çalışmamız boyunca yazarın sıra dışı dili aracılığıyla "öteki"nin görmezden gelinen sesini açığa çıkarmayı ve bu görünürlüğü reji uygulamamıza yansıtmayı hedefledik. Sanat çalışması raporumuzun odak noktasını oluşturan "İşte Baş İşte Gövde İşte Kanatlar" oyununun hem teorik, hem de uygulamalı çalışmasını yaparak, yazarın kendini kolay kolay ele vermeyen dünyasını çözümlemeye çalıştık. Bu yolda hareket noktası olarak benimsediğimiz psikanalitik yaklaşım ise bize her kaybolduğumuzda yolumuzu buldurmuş, hem öz hem de biçim anlamında yaratıcılığımızı desteklemiştir.
Sevilay Saral'ın oyunlarında feminist tiyatro'nun izleri
XVIII.yüzyılda Fransa'da ortaya çıkan feminist hareket, kendi içinde farklı zamanlarda üç koldan yürütülmüştür. İlk feminist hareket Birinci Dalga, ikinci feminist hareket İkinci Dalga,üçüncü feminist hareket ise Üçüncü Dalga adını almaktadır. Bu üç hareket de kadınların farklı sorunlarına yönelmiş olsa da hepsi aynı amacı gütmektedir. 1970'li yıllarla birlikte feminizmin farklı türlere ayrıldığı görülmektedir. Bu türler arasında liberal feminizm, radikal feminizm, materyalist feminizm, sosyalist feminizm, lezbiyen feminizmi, radikal lezbiyen feminizmi ve Marksist feminizm bulunmaktadır. Türkiye'de ise feminist hareket 1980'li yıllarda ortaya çıkmış, 1990'lı yıllardan sonra akademikleşmeye başlamıştır. Feminist Tiyatro teorisi, feminist hareketle bağlantılı olarak yürütülmüştür. Feminist Tiyatro teorisi birkaç tiyatro teorisinden beslenmektedir. Feminist Tiyatro, kadınların sorunlarını sahneden insanlara özellikle de kadınlara duyurmayı amaçlamıştır. Feminist Tiyatro'ya İngiltere öncülük etmiştir. İngiltere'de birçok feminist oyun yazarı bu tiyatro kuramının gelişmesine katkı sağlamıştır. Türkiye'de Feminist Tiyatro genç oluşumlu bir tiyatrodur. Türkiye'de kurulan ilk Feminist Tiyatro topluluğu Tiyatro Boyalı Kuş'tur. Bu topluluğun dışında Kadınların Sahnesi, Tiyatro Öteyüz gibi tiyatro toplulukları da bulunmaktadır. Bu topluluklardan biri olan Boğaziçi Üniversitesi Gösteri Sanatları Topluluğu bünyesinde olan Kadınların Tiyatrosu Sevilay Saral'ın yazmış olduğu birçok oyunu sahnelemiştir. Sevilay Saral, Türkiye'de Feminist Tiyatro'nun öncüsü konumundadır. Saral'ın Yedi Kadın, Bir Kadın Uyanıyor, Beş Kadın, Kadın Masalları, Uykudan Önce, Düş Dostları, Kadın Doğum ve Otobüs adlı oyunları bulunmaktadır. Bu tezde Saral'ın bu oyunları Feminist Tiyatro teorisi kapsamında incelenmiştir.
The concept of alienation in Tennessee Williams' works
Tennessee Williams who is distinguished with the masterly use of dramatic devices such as light, music, and stage setting, his poetic language as well as the extraordinary themes on which his works are centered is often regarded as one of the greatest American dramatists of the twentieth century. As a gifted writer, Tennessee Williams managed to create many impressive characters since he had an empathetic understanding of the human soul and its most powerful motives, which direct the acts of individuals. He focuses not only depicting their identities but also their interaction with other members of society. Most of his heroes and heroines suffer because they fail to adapt themselves to the established values of the environment in which they live; therefore, they are usually confused and unable to fulfill their prescribed roles. In that sense in most of his works it is noticed that his characters, under the pressure of harsh reality, develop the feeling of alienation. They escape from the reality to seek refuge under the shadow of illusion. However they cannot get rid of the harsh reality and finally, they live their life with the very feeling of frustration, loneliness and alienation.This dissertation aims at exploring Tennessee Williams? characters in some of his works in respect to the concept of alienation. It is important to note that this study covers Tennessee Williams? three major plays and one novel; The Glass Menagerie (1944), Portrait of a Madonna (1946), A Streetcar Named Desire (1947), The Roman Spring of Mrs. Stone (1950). The reason to confine this dissertation to scrutinising these four works is that the feeling of alienation is so distinct in the characters and it plays the central theme in these works. The introduction gives a general information on Tennessee Williams? biography and his theatre in relation to the theme of alienation which shapes his works. In the second chapter the concept of alienation is discussed within the framework of various theories put forward by leading thinkers. The third chapter presents detailed studies of the works and analyse comparatively how this concept is reflected in these works. The conclusion presents a general evaluation that Tennessee Williams dealt with the theme of alienation to project the internal conditions of his characters who, by not showing the capacity to experience an awakening, cannot overcome their illusion. Key Words: Alienation, Illusion, Isolation, Self- Awareness.
The reflection of postmodern literature in pinter's plays
Pinter?s plays have always caught the attention of the critics with its pauses, silences, ambiguities, and intruders that create paranoid and alarming atmosphere in his plays. His plays are often regarded as blurred, incomplete, chaotic, and obscure by many of the audiences/readers as well as by critics. As a matter of fact, all these adjectives that are attributed to Pinter?s plays are characteristics of postmodernism. As Pinter?s plays are the work of the postmodern era, they are unique samples to see the effects of this period on literature, especially in drama. These effects are the underlying reasons that make Pinter?s plays unclear and ambiguous. The aim of this study is to explore the reflection of postmodern literature in Pinter?s two plays. To achieve this, the characteristics of postmodern literature, the ones which are especially emphasized by many authors and critics, will be explained one by one. Then, Pinter?s The Homecoming and The Hothouse will be examined in the light of these features. In many of Pinter?s plays, intruders, power struggles, pauses and silences have been the leading topics to study on separately. However, while analyzing the two plays within the light of the postmodern literature, situations that support the topics mentioned above will be used as an example for the sake of presenting different perspectives in the study. For this reason, the plays will be analyzed within the light of the generally accepted features of postmodern literature which are language games, the fall of metanarratives, parody, irony, writerly text. Key Words: language games, parody, irony, writerly text, the fall of metanarratives
The father and daughter relationship in Shakespeare's plays: Hamlet and The Merchant of Venice
Relationships have played an important role throughout our history. One of the most important roles is the relationship between a father and his daughter. In Hamlet and The Merchant of Venice, William Shakespeare shows two different father-daughter relationships. The relationships are between Ophelia and Polonius in one hand, and Jessica and Shylock, on the other hand. The first relationship shows how far Ophelia is an obedient and weak girl, whereas the other one reflects how Jessica is rebellious and strong. Ophelia's relationship with her father is full of respect and love, whereas Jessica does not like her father and thinks he is rude. But both of the relationships show the authority and the dominance of patriarchal society in Shakespeare's time. In my thesis, I will explore the ways in which Shakespeare discusses the stereotypical father-daughter relationship and employs Ophelia and Jessica to interrogate the traditional sixteenth century roles of daughters, and how daughters were not considered as important as men in a society in which the authority of father influenced the whole life of his daughter. Keywords: Shakespeare, Family Relationship, Patriarchal Society, Obedience, Rebellion
Existential anxieties created by menace in Harold Pinter's plays: The Room, The Birthday Party and the Dumb Waiter
Harold Pinter (1930-2008) is one of the most outstanding and important British dramatists. He wrote theatre plays, radio plays, screenplays for films, sketches and poems. Harold Pinter is well-known for his comedies of menace. In his works, he mainly deals with alienation, violence, distorted memory, jealousy, fear, anxiety, betrayal, hidden secrets and sexual politics. By inserting comic dialogues and scenes, Pinter blends comedy and tragedy in his works. The Jewish playwright Harold Pinter was born in 1930. That is, in his childhood he experienced war and the anti-Jewish tendencies and all the fears and terrors coming from that. It wasn't possible for Pinter to remain unaffected. Therefore, it can be clearly understood that he was influenced by the existential thoughts which were in the air at that time of history as a person who experienced anti-Semitism before the WW II and who was sent to a safer place from German bombing. People found themselves in a worse, fragmented and complex society. After the war, they were disillusioned and they lost their aims in life. After all, the only thing important for them is their own existence since the society they lived in is full of threats. As a matter of course, these menacing factors played an important role in his life and he reflected what he lived and what he was influenced in his works. Pinter's characters are kept in an absurd-existential situation and they struggle to make sense of their own being. These existential situations are actually characters' existential anxieties because the characters are threatened by the menace, and in return, react to the danger of the invasion of their lives by this threat. The seeming safety of inside is compared with the danger of the outside world where the menace is assumed to dwell. However, Pinter shocks his audience by showing that the menace dwells not necessarily in the external world but can be anywhere, including the inside of the house. This study aims at exploring existential anxieties in Harold Pinter's plays created by menace which appeared in social life after WW II. In order to do this, this study covers Harold Pinter's three plays; The Room (1957), The Birthday Party (1957) and The Dumb waiter (1957). The reason why these three plays are chosen to study is that existential anxieties and the menace creating them are so apparent in them and it plays the central theme in these works. The introduction part of the thesis gives general information about Harold Pinter's biography, his works and Comedy of Menace. The second part of the thesis covers the concept of menace in these selected plays. The third part of the thesis gives information about what sort of existential anxieties reflected because of menace. Lastly, the conclusion gives an overall evaluation about the subject of the study. Key Words: Harold Pinter, Menace, Existentialism, Existential Anxiety
Critical analysis of Dutchman through genetic structuralism
Our study includes the analysis of Dutchman by Amiri Baraka (LeRoi Jones), African American playwright and poet who highly influenced the Black Theater and produced many works in literary sense, under the lights of Genetic Structuralism method. Our study consists of three chapters with an Introduction and a Conclusion. In the introduction, it is intended to focus on developing process of Black Theatre and the importance of blacks in American Drama. In the first chapter, assimilation theories and how they have been used in America since the U.S.A were discussed in order to explain the attitude of Amiri Baraka's against assimilation in the play. In the second chapter, basic information about genetic structuralism is given. In the third chapter, Dutchman is analyzed through genetic structuralism method in details and the conclusion part depicts the summary of this thesis. Consequently, we saw that by using an assimilated black man, Baraka tries to warn African-Americans against the threat of assimilation and we determined that Baraka strongly believes that African-Americans should accept and be aware of their black identity in order to survive in America. Key Words 1. Dutchman 2. Genetic Structuralism 3. African-American Drama 4. Assimilation 5. Amiri Baraka
Mehmet Birkiye'nin yönetmenlik anlayışı üzerine bir inceleme
Bu yüksek lisans tezinde yönetmenlik kavramına değinmekle birlikte esas olarak günümüz tiyatrosunda önemli bir tiyatro adamı olan Mehmet Birkiye'nin yaşam serüveni içerisindeki sanatçı, akademisyen kimlikleri incelemiştir. Araştırmanın kuramsal niteliği, yönetmenin kendi üslubunun incelenmesi, sahne üzerinde uyguladığı ve yönteme dönüşen tekniklerinin ortaya konulması üzerine temellendirilmiştir. Araştırmadan elde edilen bulgulara dayanarak tiyatro yönetmenliği kavramı çerçevesinde Mehmet Birkiye'nin reji anlayışına farklı açılardan bakma olanağı doğar. Bu çerçevede tiyatroda eğitimin yeri, bir sanatçının kendini yetiştirme süreci, seyirci sahne ilişkisi, oyuncu yönetmen bütünlüğü gibi öne çıkan kavramlar bu yaşam öyküsü ile birleşerek tezin çıkış noktasını oluşturmuştur. Bu çalışma sonucunda, Mehmet Birkiye'nin sanat hayatının sanatçı adayları ve hatta sanatçıların bizzat kendisi için yol gösterici olması hedeflenmektedir.
Socio-political and ethical issues in Martin Crimp's major staged plays
Theatre started to transform from the political aesthetics of the 1970s and the 1980s to the avant-garde aesthetic of the 1990s. After a long break, since the British theatre of the 1990s witnessed a new theatre movement, called In-Yer-Face by Alex Sierz, which critiques traditional British Theatre with its cruel language and challenging plots. Martin Crimp has produced his most well-known plays in this aesthetic. To show Crimp's contribution to the British theatre from a wider perspective, this thesis explores Crimp's eight staged plays, Definitely The Bahamas (1987), Dealing with Clair (1988), The Treatment (1993), Attempts on Her Life (1997), The Country (2000), Cruel and Tender (2004), Fewer Emergencies (2005), and The City (2008), basing its discussion on different critical theories, Cultural Materialism, Socialist Feminism, and Artaud's theory. For that reason, different criticisms are applied to his plays in the light of these three theories. In the Introduction, Crimp's life and the In-Yer-Face movement will be scrutinized. In the first chapter, the theories, Cultural Materialism, Socialist Feminism, and Artaudian Theatre, are explained in a detailed way to correlate between the plays and the theories. The aim of the second chapter is to find the analogy between Artaud's theatre, Crimp's theatre, and Crimp's usage of Artaudian cruelty in his contemporary plays. This is why his three plays, Fewer Emergiencies, Definitely the Bahamas, and The Country were chosen according to their main theme, cruelty. Drawing on Cultural Materialism, the third chapter reveals how Crimp reflects the political and cultural factors of his period into his plays, The City and Dealing with Clair, and how he approaches these factors in his plays. In the fourth chapter, women characters in his plays, The Treatment, Attempts on Her Life, and Cruel and Tender, are analyzed to illustrate how Crimp integrates the perception of women body in the contemporary world into his plays. In the conclusion part, it is pointed out how Crimp reflects the cruelness in this world dramatically using stage devices to reach the audiences' unconscious like Artaud. Secondly, Crimp's pessimistic attitude towards the power of ideology and its negative effect on individuals are clarified. The disappearance of the characters in his plays indicates how individuals are victimized in a system. Lastly, after examining female characters in his plays, it is found out that his female characters are imprisoned in the domestic sphere and they fail to struggle with both capitalism and patriarchy.
Deceit, family and justice in Miller and Ibsen's plays Crucible, All My Sons and Ghosts
The main goal of this M.A. Thesis is to examine the modern drama in general, along with the most influential figures of the period, namely Arthur Miller and Henrik Ibsen. They are considered to be the prominent play-writes in the modern era. Arthur Miller is well-known for his tragic plays of which I pick up the two, Crucible and All My Sons to study. Secondly, I focus on Henrik Ibsen's famous play, Ghosts. I would say that Arthur Miller and Henrik Ibsen are the two powerful authors of the modern drama and their plays are the most interesting and credible ones as far as the modern drama is concerned. But the important question is what their plays can show us about contemporary individuals, morality, and social reality. This study has variety answers to this question and many other questions about the three plays. I try to consider the major themes which are related with the intrinsic elements of the plays and tackle them through a discussion of the general aspects of the era. The major themes that the plays deal with are Lies and deceit, family, and justice. I think it is plain and clear that we cannot dissociate any of the themes from the majority of the plays written throughout the history of drama. Keywords: Family, Deceit, Justice, Crucible, All My Sons, Ghosts, Henrik Ibsen,Arthur Miller, play.
Postdramatic theatrical signs in the Plays of Martin Crimp, Sarah Kane, Mark Ravenhill and Simon Stephens
Drama, which is related to literature, and theatre, which is related to performance and acting are used interchangeably without considering their definitions. Instead of using these two terms arbitrary, it is more important to focus on relationships which complete each other. Hans Thies Lehmann, a German theoretician, has laid emphasis on this relationship and identified new rules, signs and aspects. While making these definitions, Lehmann makes an analysis, starting from historical avant-garde movements to contemporary British theatre, and suggests theory of postdramatic theatre. Applying Lehmann's work this study examines changes in the dramatic structure related to the avant-garde movements, characteristics of 1990s theatre in Britain, In-Yer-Face theatre and new developments. This thesis investigates and develops a compositional system on the history of dramatic and postdramatic theatre through avant-garde movements, 1990s theatre, postdramatical signs and postdramatic aspects. The aim of this thesis is to analyse the dynamism, changes, critical purpose, socio-political importance, and effects of postdramatic theatre in the twentieth and twenty -first centuries. In the first part of this thesis characteristic of 1990s English theatre, In-Yer-Face theatre and periods of avant-garde movements have been studied in detail. Second chapter of this thesis analyzes concept of postdramatic theatre and postdramatic performance applying Hans Thies Lehmann's work. Third chapter of the thesis continues with instructions of postdramatical theatrical signs and considering these signs, Martin Crimp's plays Attempts on Her Life (1997) and Face to the Wall (2002) have been studied under the title of ―Deconstructing Subject and Non-Hierarchial Structure in Martin Crimp's Postdramatic Theatre‖ and Simon Stephens's play Pornography (2007) has been studied under the title of ―Lack of Plot and Deconstructing Character in Simon Stephens' Postdramatic Theatre‖. The fourth chapter sheds light on postdramatic aspects and using these aspects Sarah Kane's plays Crave (1998) and 4.48 Psychosis (2000) have been studied under the title of ―Violence, Pain and Catharsis in Sarah Kane's Postdramatic Theatre‖ and Mark Ravenhill's plays Faust is Dead (1997) and Pool (No Water) (2006) have been studied under the title of ―Deconstructing Time, Space, Body and Media in Mark Ravenhill's Postdramatic Theatre‖. As a conclusion this study identifies a selection of plays, performances and playwrights who each in distinct ways deconstruct traditional forms and conventional rules and integrate new structures and forms to their new theatre-aesthetic. The developed newlyconcepts and strategies were realised in some performances through postdramatical signs and postdramatic aspects based on Hans Thies Lehmann's work Postdramatic Theatre (2006) in the twentieth and twenty first centuries. These concepts and strategies have been analyzed related with plays of Martin Crimp, Simon Stephens, Sarah Kane and Mark Ravenhill. In the world, this thesis is the first study which analyzes postdramatic signs and aspects in the works of playwrights who dominate English theatre after 1990s. From this aspect this study puts new faces on our field and provides scientific contribution. Key Words: Dramatic Theatre, Postdramatic Theatre, Martin Crimp, Sarah Kane, Mark Ravenhill, Simon Stephens.
Political propaganda in Shakespeare's history plays
This dissertation has attempted to understand the political propaganda in the history plays of William Shakespeare and draw connection between the Shakespearean Stage and the mass media of our age in terms of the loss of the real concept of Jean Baudrillard and social psychology techniques such as primacy effect, cognitive dissonance theory and classical conditioning of the modern age. Analysing Macbeth, King John, Richard II and Richard III in the light of new historicism and deconstruction theories has given the chance of crosschecking the findings about the loss of the real through two different methods. Both the outcomes of the new historicist analysis, which demonstrated the distortions of the historical events from the windows of the Renaissance authors like Raphael Holinshed, Edward Hall, Richard Grafton and George Buchanan, and the outcomes of the deconstruction which revealed the binary oppositions causing violent hierarchies for the favour of the monarchy have indicated the fact that Shakespeare distorted historical realities in his history plays. Both the loss of the real as the outcome of the new historicist and deconstructive analyses, and Shakespeare's quality in using social psychology techniques such as classical conditioning, primacy effect or cognitive dissonance theory have enabled this dissertation to reinterpret Shakespeare from a different perspective. William Shakespeare, probably the greatest playwright of all times, always allows us to restudy and reinterpret his plays in the light different methods and techniques. As long as human being advances in time, science and technology, his plays allow us to reinterpret them from different perspectives. Therefore, it is possible to maintain that Shakespeare is never out of date and will always attract the attention of the researchers. Keywords: Elizabeth theatre, William Shakespeare, Jean Baudrillard, Jacques Derrida, deconstruction, new historicism, social psychology, simulacra and simulation
Samuel Beckett ve Ferhan Şensoy'da uzam ve güç
The aim of this study is to analyze the concept of space and investigate the theory of power, the effects of power and panopticism over the characters in the plays of Samuel Beckett's Waiting for Godot and Endgame, and Ferhan Şensoy's Güle Güle Godot (Good Riddance Godot). Theories on space, power and panopticism of Michel Foucault form philosophical background of the study. The study is comprised of five chapters. The first chapter introduces the research questions and the second discusses Michel Foucault and his philosophy. The third elaborates the Theatre of the Absurd, Samuel Beckett, Turkish Traditional Theatre and Ferhan Şensoy and outlines the plots and the background of the plays in question. The fourth chapter addresses the research questions and carries the discussion forward into analysis of the plays. Detailed analysis and the discussion of the concept of space is presented for all three plays. The six principles of heterotopias of Foucault are examined in the plays in detail. Power in the plays is scrutinized and how the characters are affected by power is analyzed and discussed. The effect of panopticism is studied and the manners of the characters against panopticism is investigated. The final chapter of the study synthesizes the answers to the research questions. The answers that are found in the plays shed light to the societies that the plays belong to. The findings demonstrate that Şensoy's characters are more hopeful for their future than Beckett's. Beckett's characters are either in restrained action or in total confinement. Şensoy's characters even after psychological and physical destruction recover quickly and try to establish their own authority. Personal ties among the characters are stronger in Good Riddance Godot than they are in Beckett's plays. In Beckett's plays, there is an interchangeable power relationship between the characters, and this power relation is based on mutual need. On the other hand, there is a pure and sincere friendship among people in Good Riddance Godot. All the characters in the three plays studied are waiting but in different manners and with different expectations. They all want to change their circumstances and try to find answers to the questions mostly about themselves and the world around them. In Beckett, the questions remain unanswered, but in Şensoy, the main problem is at least answered.
The representation of existential anguish in absurd drama as reflected in Beckett's play: Waiting for Godot
This thesis intends to analyse the play Waiting for Godot by Samuel Beckett in terms of Existentialism within the genre of the Theatre of Absurd by investigating through the setting, context and use of language. It is argued in this thesis that as Samuel Beckett is concerned about human beings' problems of existence in the world in his plays, most of the time, he portrays the representation of human condition which makes his plays to be interpreted in the light of Existentialism. In the thesis, Existentialism as a philosophical movement has been introduced with its prominent names and examples, also the Theatre of the Absurd is explained in detail with its basic qualities to shed a light on how the characters' dialogues, monologues construct their existential anguish through the play while arguing that there are many existentialistic qualities in the play such as characters' searching for meaning and realizing the meaninglessness of the world and nothingness in the process of their waiting for Godot. Additionally, the link between Existentialism and The Theatre of Absurd is illustrated with a view of the play to prove that Waiting for Godot carries the traces of both Existentialism and The Theatre of the Absurd while the characters suffer from the existential anguish. More specifically, this study tries to reveal the fact that Vladimir and Estragon, the main characters in the play Waiting for Godot suffer from existential anguish and basically explores how the existential anguish is reflected through the analysis of the characters' language by means of dialogues, choice of words, repetitions and silences.
Politics of location: Spatial images and imaginings in David Greig's plays
Space and place determine how we perceive, experience, understand and interpret the world. Since the 'spatial turn' in the 1980s, space has become a popular multidisciplinary concern in literature, human geography, sociology, fine arts, and architecture. The aim of this research is to explore David Greig's social and literary significance in the last two decades of British theatre and to investigate a spatial analysis of his work. The thesis analyses his stagework as a combination of political content and a richly allegorical style. Place has a vital importance in David Greig's plays. In his sets and settings there are evocations of real places through verbal and visual spatial references. Drawing on theorists of space such as Michel Foucault, Henri Lefebvre, Yi-Fu Tuan, Edward Soja, Edward Relph and Marc Augè, the thesis argues that theatre is a heterotopic space in which one can map linguistic geography, and that Greig's metaphorical use of space proposes a sense of non-place and placelessness in the contemporary world. The thesis focuses on the written text rather than the aesthetics of performance. Greig creates a metaphorical meaning for the mappable place. His mimetic and diegetic places are combined with characters' emotions to represent a sensual dimension. He breaks the naturalism's fourth-wall through certain characters in each play who are in direct contact with the audience/reader. Eventually the thesis evidences that theatre is a heterotopic place, a production, a thirdspace, a geopathology where space turns into place. Greig evokes real places to explore the fluid borders between fact and fiction. He explores the interconnectedness between individual private lives and large scale political issues. The spatial images and imaginings used in his texts suggest both metaphoric and geographical reference. His plays both political and lyrical; they employ innovative theatrical forms and explore daring social and political themes such as racism, xenophobia, globalisation, homelessness, displacement, rootedness, mobility, and alienation. The implicit references of the Afghanistan war in Dunsinane and the suggestions for the Balkan unrest in Europe by means of powerful and vivid spatial images make his plays universal and timeless. This research indicates that the texts should not be reduced to a series of simplistic definitions; rather they should be appreciated for their richness and complexity. Spatiality is only one of the many perspectives to anatomise the plays' various and intricate insights.