1990'lı yılların seçilen ingiliz oyunlarında intiharın dilbilimsel özgünlüğü ve Butlerian performatifliği

The theme of suicide carries an intense force of performance and persuasion and can be studied regarded as being both free from the text and dependent on the text. Being both imprisoned by and liberated from the authority of the playwright and the dramatic text, the theatrical or text-based dramatic performance of suicide and the nontheatrical or nondramatic performativity of it influence and empower each other. The theoretical question is how the linguistic performativity of suicide is enacted in the British plays of the 1990s and how the female protagonists display vulnerability in resistance. J.L. Austin's theory of performatives has been the starting point and then the Derridean approach is referred at to describe the notions of 'iterability' and 're-signification' in the performativity of a play repeating the prior set of practices related to suicide, and then Judith Butler's argument about performativity is analyzed who argues that the meanings are performative and individual identities exist in their performativity. The selected plays of the 1990s, Haunting Julia (1994) by Alan Ayckbourn, Portia Coughlan (1996) by Marina Carr, Attempts on Her Life (1997) by Martin Crimp, An Experiment with an Air Pump (1998) by Shelagh Stephenson and 4.48 Psychosis (1999) by Sarah Kane provide a basis for such reading. These five dramatists have presented the performance of their plays in a way that they reconstitute the act of self-destruction.