Abstract
1990'lar boyunca İngiliz tiyatrosu daha
sansasyonlu ve dolayısıyla daha fazla şiddet içerikli temalara odaklanmasıyla
yön değiştirir. Bu dönemde ki farklılık tiyatro eleştirmeni olan Aleks Sierz
tarafından ‘Suratına Tiyatro’ olarak adlandırılır. Bu araştırmanın amacı,
‘Suratına Tiyatro’ oyun yazarlarının; Crimp, Ridley, Neilson, Ravenhill, Upton,
Buffini, gençlerin içindeki şiddeti eserlerine nasıl yansıttıklarını
incelemektir. ‘Suratına Tiyatro’nun en önemli amacı müstehcen bir dille
insanoğlunun en temel dürtülerinden biri olan şiddeti uyarıcı olarak kullanarak
seyircide şok etkisi yaratmak ve seyircinin gerçeklerle yüzleşmesini
sağlamaktır. ‘Suratına Tiyatro’da sadece yetişkinler değil çocuklarda öldürür,
tecavüz ve işkence ederler. Yetişkinler kadar çocuklar da içlerindeki şiddet iç güdüsüne yenik düşerler. Yazarların hepsi eserlerine, Vincent River, Ghost from a Perfect Place,
Ashes and Sand, Normal, Welcome to Thebes, In the Republic of Happiness,
gençlerin içindeki acımasızlığı farklı şekillerde yansıtırlar. Crimp şiddetin
ortaya çıkmasında kapitalist sistemi suçlarken, Neilson ve Ridley şiddetin
ortaya çıkısını, hayatta kalma mücadelesi olarak eserlerine yansıtır. Buffini,
savaşın gençlerin içinde ki acımasızlığı nasıl ortaya çıkardığını gösterirken,
Upton 1990'larda yaygın olan çeteleşme olayını oyununa yansıtarak vahşi bir kız
çetesinin işlediği suçlardan bahseder. Aslında yazarlar sadece seyirciyi bir
gerçekle yüzleştirmekle kalmaz, aynı zamanda geleceğe karşı olumsuz bakış̧ açılarını da yansıtırlar. Çünkü onlara göre yetişen gençlik tıpkı
yetişkinler gibi acımasız, merhametsiz ve empati duygusundan yoksundur.
References
- Allahar, A. L. (2006). Critical youth studies: A Canadian focus. Person Prentice Hall, U.S.A. Aragay, M. & Martin M. (2017). "Precariousness in Drama and Theatre: An Introduction." Of Precariousness: Vulnerabilities, Responsibilities, Communities in 21st-Century British Drama and Theatre 28 : 1. Aston, E. (2003). An introduction to feminism and theatre. Routledge, London. Buffini, M. (2010). Welcome to Thebes. Faber & Faber, London. Crimp, M. (2012). In the Republic of Happiness. Faber & Faber, London. De Zulueta, F. (2006). From pain to violence: The traumatic roots of destructiveness. John Wiley & Sons, Dolley, C. & Rex W. (2015). The One-Act Play Companion: A Guide to Plays, Playwrights and Performance. Bloomsbury Publishing. Gulbenkian Foundation Commission. (1995). "Children and violence." Calouste Gulbenkian Foundation, London. Lebrun, M. (2011). Children in Crisis: Violence, Victims, and Victories. Rowman & Littlefield, New York. Middeke, M., Peter P. S., and Aleks S. (eds.) (2011). The Methuen Drama Guide to Contemporary British Playwrights. A&C Black. Neilson, A. (2011). Anthony Neilson Plays 1: Normal, Penetrator, The Year of the Family, The Night Before Christmas, The Censor. Bloomsbury Pub., U.K. Ridley, P. (1997). Plays 1: The Pitchfork Disney, The Fastest Clock, Ghost From A Perfect Place, Bloodshot, Angry, and Voosh!. Bloomsbury Pub., Great Britain. Ridley, P. (2009). Plays 2: Vincent River, Mercury Fur, Leaves of Glass, Piranha Heights. Bloomsbury Pub., Great Britain. Sierz, A. (2001). In-Yer-Face Theatre. British Drama Today. Faber Publishing, Great Britain. Sierz, A. (2012). Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations. Methuen Drama, Great Britain. Upton, J. (2002). Plays 1: Ashes and Sand, Stealing Souls, Sunspots, People on the River, Know Your Rights. Methuen Drama, U.K. Voela, A. (2017). Psychoanalysis, Philosophy, and Myth in Contemporary Culture: After Oedipus. Springer Publishing.
Abstract
Throughout the 1990s, British theatre shifted its
focus on themes that were ever more extraordinary, and thus ever more violent.
Aleks Sierz, a theatre critic, dubbed this shift ‘in-yer-face theatre’. The aim
of this paper is to examine how those who had pioneered this movement,
including Martin Crimp, Philip Ridley, Anthony Neilson, Judy Upton, and Moira
Buffini reflect the theme of violence in youth in their plays. The overarching
goal of ‘In-yer-face theatre’ is to shock viewers as well to have them come
face-to-face with own inner beasts through the use of obscene language, and by
means of evoking one’s inner violent instincts. In ‘In-yer-face theatre’ not
only adults but also youth kill, rape, torture. Both youth and adults alike are
victimized by the darkness swirling around within the pits of souls. Each
playwright has her/his own way of portraying this violence on stage, Vincent River, Ghost from a Perfect Place,
Ashes and Sand, Normal, Welcome to Thebes, In the Republic of Happiness.
Crimp blames the emergence of violence upon capitalism. Neilson and Ridley
equate violence with the struggle to stay alive. Buffini shows how ruthless
youth at war can be, whilst Upton deals with the crimes committed by female
gangs—a problem which had plagued much of the United Kingdom during that
period. Not only do playwrights force their audiences to confront reality, but
they also cast their own bleak outlooks concerning the future. Since they deem
that modern youth, like adults, is cruel, remorseless, and void of any sense of
empathy.
References
- Allahar, A. L. (2006). Critical youth studies: A Canadian focus. Person Prentice Hall, U.S.A. Aragay, M. & Martin M. (2017). "Precariousness in Drama and Theatre: An Introduction." Of Precariousness: Vulnerabilities, Responsibilities, Communities in 21st-Century British Drama and Theatre 28 : 1. Aston, E. (2003). An introduction to feminism and theatre. Routledge, London. Buffini, M. (2010). Welcome to Thebes. Faber & Faber, London. Crimp, M. (2012). In the Republic of Happiness. Faber & Faber, London. De Zulueta, F. (2006). From pain to violence: The traumatic roots of destructiveness. John Wiley & Sons, Dolley, C. & Rex W. (2015). The One-Act Play Companion: A Guide to Plays, Playwrights and Performance. Bloomsbury Publishing. Gulbenkian Foundation Commission. (1995). "Children and violence." Calouste Gulbenkian Foundation, London. Lebrun, M. (2011). Children in Crisis: Violence, Victims, and Victories. Rowman & Littlefield, New York. Middeke, M., Peter P. S., and Aleks S. (eds.) (2011). The Methuen Drama Guide to Contemporary British Playwrights. A&C Black. Neilson, A. (2011). Anthony Neilson Plays 1: Normal, Penetrator, The Year of the Family, The Night Before Christmas, The Censor. Bloomsbury Pub., U.K. Ridley, P. (1997). Plays 1: The Pitchfork Disney, The Fastest Clock, Ghost From A Perfect Place, Bloodshot, Angry, and Voosh!. Bloomsbury Pub., Great Britain. Ridley, P. (2009). Plays 2: Vincent River, Mercury Fur, Leaves of Glass, Piranha Heights. Bloomsbury Pub., Great Britain. Sierz, A. (2001). In-Yer-Face Theatre. British Drama Today. Faber Publishing, Great Britain. Sierz, A. (2012). Modern British Playwriting: The 1990s: Voices, Documents, New Interpretations. Methuen Drama, Great Britain. Upton, J. (2002). Plays 1: Ashes and Sand, Stealing Souls, Sunspots, People on the River, Know Your Rights. Methuen Drama, U.K. Voela, A. (2017). Psychoanalysis, Philosophy, and Myth in Contemporary Culture: After Oedipus. Springer Publishing.
Details
| Primary Language | Turkish |
|---|---|
| Subjects | Creative Arts and Writing |
| Journal Section | Turkish language, culture and literature |
| Authors | |
| Publication Date | September 21, 2019 |
| Published in Issue | Year 2019 Issue: 16 |
