Araştırma Makalesi
BibTex RIS Kaynak Göster
Yıl 2020, Cilt: 10 Sayı: 1, 34 - 47, 25.03.2020

Öz

Kaynakça

  • Allen, D. (2007). ‘Going to the centre’: Edward Bond's the children. Studies in Theatre and Performance, 27(2), 115-136.
  • Althusser, L. (2019). İdeoloji ve devlerin ideolojik aygıtları. İstanbul: İthaki Yayınları.
  • Amoiropoulus, K. (2013). Balancing gaps (Unpublished Doctoral Dissertation). Birmingham City University, Great Britain.
  • Billingham, P. (2013). Edward Bond: A critical study. Great Britain: Palgrave Macmillan.
  • Bond, E. (1981). Unpublished personal interview. In Roberts, P. (ed.). (1985). Bond on file (1st ed., pp. 64-66). London: Methuen Drama.
  • Bond, E. (1996a). Human cannon, the bundle, jackets, in the company of men. London: Methuen Drama.
  • Bond, E. (1996b). Rough notes on theatre. SCYPT Journal, 31, 8-17.
  • Bond, E. (1997a). At the inland sea. London: Methuen Drama.
  • Bond, E. (1997b). Modern and postmoden theatres: Interview with Ulrich Köppen. New Theatre Quarterly, 10(4), 99-105.
  • Bond, E. (1998a). At the inland sea. In E. Bond, Letters 4 (pp. 139-168) Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998b). Education, imagination and child. In Bond, E. Letters 4 (pp. 1-104). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998c). Plays: 6: The war plays, choruses from after the assassinations. London: Methuen Drama.
  • Bond, E. (2000). Hidden plot: Notes on theatre and state. London: Methuen Drama.
  • Bond, E. (2011). Jesus and Hitler swept. In Bond, E. Plays 9 (1st ed., pp.ix-xxvi). London: Methuen Drama
  • Bond, E. (2012). The edge: a personal comment written for adult audiences at Big Brum theatre in education’s performance of the edge. Retrieved from www.bigbrum.org.uk.
  • Bond, E. (2013a). Letter to a playwright. Retrieved from www.edwardbonddrama.org
  • Bond, E. (2013b). On directing Saved. Personal Letter. Retrieved from www.edwardbonddrama.org
  • Bond, E. (2013c). The third crisis: the possibility of a future drama. JCDE, 1(1), 13-21.
  • Bond, E. (2015a). Language is an octopus with a million leges. In Tuaillon, D. Edward Bond: The playwright speaks (1st ed., pp. 40-70). London: Bloomsbury.
  • Bond, E. (2015b). The kitchen table and the edge of the universe. In Tuaillon, D. Edward Bond: The playwright speaks (1st ed., pp. 131-154). London: Bloomsbury.
  • Bond, E. (2015c). The one thing Shakespeare never does is despair. In Tuaillon, D. Edward Bond: The playwright speaks (1st ed., pp. 13-28). London: Bloomsbury.
  • Bond, E. (2015d). Sandalye oyunları: Alt oda & sandalye & hiçbir şeyim yok (S. Cevher, çev. ed.). İstanbul: Mitos Boyut.
  • Bond, E. (2016). Interview. In Nicolás, S. The trigger of the truth is in your hands: Conversation with Edward Bond. Contemporary Theatre Review, 26(2), 258-266.
  • Busby S. (2013). Representations of children, families and neo-families in British theatre 1993-2001 (Unpublished doctoral dissertation). University of London, England.
  • Coult T. (1997). Notes and Commentary. In Bond, E. At the Inland Land (1st ed., pp. 35-81). Great Britain: Methuen Drama.
  • Coult, T. (2005). Building the common future: Edward Bond and the rhythms of learning, In Davis, D. (Ed.), Edward Bond and dramatic child (1st ed., pp. 9-24). London: Trentham Books
  • Cooper, C. (2005). Edward Bond and the Big Brum plays. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 49-83) London: Trentham Books.
  • Cooper, C. (2011). Personal E-mail from Edward Bond. In Cooper, C. and Ballin, B. (2012). The edge: Teacher’s resource. [Personal e-mail from Chris Cooper in 2014.]
  • Cooper, C. (2013). Tell me a story: Interview with Chris Cooper. In Billingham, P. (Ed.), Edward Bond: A critical study (1st ed., pp. 155-166). Great Britain: Palgrave Macmillan.
  • Cooper, C. and Ballin, B. (2012). The edge: Teacher’s resource. [Personal e-mail from Chris Cooper in 2014.]
  • David, D. (2005). Edward Bond and dramatic child. London: Trentham Books.
  • Davis, D. (2007). Edward Bond ve eğitimde drama. Yaratıcı Drama Dergisi, 1(3), 79-101.
  • Davis, D. (2009). Commentary. In Bond, E. Saved (1st ed., pp. xviii-xxxi). London: Bloomsbury.
  • Doona, J. (2005). The sheet of glass: a drama project by Tameside schools on an Edward Bond poem. In Davis, D. (Ed.), Edward Bond and dramatic child (1st ed., pp. 93-110). London: Trentham Books.
  • Gardner, L. (2012, April 24). Have I none / the under room. The Guardian. Retrieved from http://www.theguardian.com
  • Hay, M., and Roberts, R. (1980). Bond: A study of his plays. London: Methuen Drama.
  • Hemley, M. (2014, July 4). Edward Bond hit out at Arts Council’s cuts. Retrieved from www.thestage.co.uk
  • Hulson, M. (2012). Edward Bond – 50 years in theatre. Journal of Drama in Education, 28(2), 73-74.
  • Hutchinson, D. (2016, February 9). Edward Bond: English stage is dead. Retrieved from www.thestage.co.uk
  • Katafiasz, K. (2005). Alienation is the “Theatre of Auschwitz”: an exploration of form in Edwad Bond’s theatre. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 25- 48). London: Trentham Books.
  • Mohamed, K. K. (2010). Dramatic techniques of Edward Bond (Unpublished Doctoral Dissertation). Sri Venkateswara University, Tirupati, India.
  • Nicholson, H. (2003). Acting, creativity and social justice: Edward Bond’s the children. Research in Drama Education, 8(1), 9-23.
  • Nicholson, H. (2009). Theatre & education. UK: Palgrave Macmillan.
  • Nicolás, S. (2016). The trigger of the truth is in your hands: Conversation with Edward Bond. Contemporary Theatre Review, 26(2), 258-266.
  • Parlak, E. (2018). Edward Bond, the children, sevgi ve şiddet. Erzincan Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 11(1), 305-312.
  • Peacock, K. (1991). Radical stages: Alternative hislory in modern British drama. New York: Greenwood Press.
  • Procter, C. and Cooper, C. (2012). The broken bowl education resource. [Personal e-mail from Chris Cooper in 2014.]
  • Román, S. N. (2010). A challange for educational theatre: Edward Bond’s the children. Retrieved from https://uvadoc.uva.es/bitstream/10324/22685/1/ES-2010-31-AChallengeForEducational.pdf
  • Saunders, G. (2004). Edward Bond and the celebrity of exile. Theatre Research International, 29(3), 256-266.
  • Sharma, S. (2012). On violence and justice in modern society: the rolde of theatre in building a human society – a selective study of Edward Bond’s plays. Journal of Rajasthan for Studies in English, 8, 49-57.
  • Sharma, S. (2014). Revisiting history & creating humanness: a study of Edward Bond’s play at the inland sea. IJLTEMAS, 3(3), 25-27.
  • Takkaç, M., & Biçer, A. G. (2009). Edward Bond’s play for children: Education for sustainable development and the need for Theatre in Education. Retrieved from https://www.researchgate.net/publication/277148686_Edward_Bond's_Play_for_Children_Education_for_Sustainable_Development_and_the_Need_for_Theatre_in_Educat ion
  • Tuaillon, D. (2015). Edward Bond: The playwright speaks. London: Bloomsbury.

Edward Bond’un At The Inland Sea Oyununda Zaman Olgusunun Kadın Karakterler Üzerinden Temsili

Yıl 2020, Cilt: 10 Sayı: 1, 34 - 47, 25.03.2020

Öz

Bu çalışmada, İngiliz tiyatrosunun en tartışmalı ve üretken oyun yazarlarından biri olan Edward Bond’un zaman olgusu üzerine düşünceleri At the Inland Sea oyunu çerçevesinde irdelenmektedir. Oyun yazarı, 1995 yılından itibaren genç izleyiciler için kaleme aldığı Big Brum eserlerinden biri olan At the Inland Sea oyunu ile oyunun ana karakteri olan erkek çocuğun bireysel benlik arayışını ele alarak geçmiş, günümüz ve gelecekle ilgili anlatıları ve bu anlatıların birbirleriyle ilişkisini ortaya koymaktadır. Erkek çocuğun içsel yolculuğu süresince karşılaştığı kadın karakterler [Anne, Kadın ve Yaşlı Kadın] tarafından dile getirilen anlatılar, günümüz dünyasının materyalist gerçekliği ve beraberinde getirdiği tinsel, fiziksel ve toplumsal şiddetin geçmişteki izleri ve/veya gelecekteki olası etkileri yansıtılmaktadır. Kadın karakterler ile farklı zaman dilimlerinden izlekler sunulan oyunda İkinci Dünya Savaşı gibi geniş çaplı insanlık yıkımlarından daha bireysel ve gizli kalan aile ilişkilerine kadar farklı izgelerde değişiklik gösteren şiddet eylemleri izleyicilere aktarılmaktadır. Az sayıda oyuncu ile tek bir mekân üzerinden kurgulanan oyunda genç izleyici kitlesi göz önünde bulundurularak tarihsel eylemlerin doğrudan aktarımına yer verilmez. Genel olarak eğitimde tiyatro [TiE] programlarının nitelikleriyle de koşutluk gösteren bu eğitimsel ve sanatsal süreç, ana karakterin ve genç izleyicilerin kendi özgün anlatılarını keşfetmelerine ve yetişkinler tarafından şekillendirilen kurumsal anlatılardan bağımsız olarak alternatif bir bakış açısı geliştirmelerine olanak sağlamaktadır.

Kaynakça

  • Allen, D. (2007). ‘Going to the centre’: Edward Bond's the children. Studies in Theatre and Performance, 27(2), 115-136.
  • Althusser, L. (2019). İdeoloji ve devlerin ideolojik aygıtları. İstanbul: İthaki Yayınları.
  • Amoiropoulus, K. (2013). Balancing gaps (Unpublished Doctoral Dissertation). Birmingham City University, Great Britain.
  • Billingham, P. (2013). Edward Bond: A critical study. Great Britain: Palgrave Macmillan.
  • Bond, E. (1981). Unpublished personal interview. In Roberts, P. (ed.). (1985). Bond on file (1st ed., pp. 64-66). London: Methuen Drama.
  • Bond, E. (1996a). Human cannon, the bundle, jackets, in the company of men. London: Methuen Drama.
  • Bond, E. (1996b). Rough notes on theatre. SCYPT Journal, 31, 8-17.
  • Bond, E. (1997a). At the inland sea. London: Methuen Drama.
  • Bond, E. (1997b). Modern and postmoden theatres: Interview with Ulrich Köppen. New Theatre Quarterly, 10(4), 99-105.
  • Bond, E. (1998a). At the inland sea. In E. Bond, Letters 4 (pp. 139-168) Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998b). Education, imagination and child. In Bond, E. Letters 4 (pp. 1-104). Amsterdam: Harwood Academic Publishers.
  • Bond, E. (1998c). Plays: 6: The war plays, choruses from after the assassinations. London: Methuen Drama.
  • Bond, E. (2000). Hidden plot: Notes on theatre and state. London: Methuen Drama.
  • Bond, E. (2011). Jesus and Hitler swept. In Bond, E. Plays 9 (1st ed., pp.ix-xxvi). London: Methuen Drama
  • Bond, E. (2012). The edge: a personal comment written for adult audiences at Big Brum theatre in education’s performance of the edge. Retrieved from www.bigbrum.org.uk.
  • Bond, E. (2013a). Letter to a playwright. Retrieved from www.edwardbonddrama.org
  • Bond, E. (2013b). On directing Saved. Personal Letter. Retrieved from www.edwardbonddrama.org
  • Bond, E. (2013c). The third crisis: the possibility of a future drama. JCDE, 1(1), 13-21.
  • Bond, E. (2015a). Language is an octopus with a million leges. In Tuaillon, D. Edward Bond: The playwright speaks (1st ed., pp. 40-70). London: Bloomsbury.
  • Bond, E. (2015b). The kitchen table and the edge of the universe. In Tuaillon, D. Edward Bond: The playwright speaks (1st ed., pp. 131-154). London: Bloomsbury.
  • Bond, E. (2015c). The one thing Shakespeare never does is despair. In Tuaillon, D. Edward Bond: The playwright speaks (1st ed., pp. 13-28). London: Bloomsbury.
  • Bond, E. (2015d). Sandalye oyunları: Alt oda & sandalye & hiçbir şeyim yok (S. Cevher, çev. ed.). İstanbul: Mitos Boyut.
  • Bond, E. (2016). Interview. In Nicolás, S. The trigger of the truth is in your hands: Conversation with Edward Bond. Contemporary Theatre Review, 26(2), 258-266.
  • Busby S. (2013). Representations of children, families and neo-families in British theatre 1993-2001 (Unpublished doctoral dissertation). University of London, England.
  • Coult T. (1997). Notes and Commentary. In Bond, E. At the Inland Land (1st ed., pp. 35-81). Great Britain: Methuen Drama.
  • Coult, T. (2005). Building the common future: Edward Bond and the rhythms of learning, In Davis, D. (Ed.), Edward Bond and dramatic child (1st ed., pp. 9-24). London: Trentham Books
  • Cooper, C. (2005). Edward Bond and the Big Brum plays. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 49-83) London: Trentham Books.
  • Cooper, C. (2011). Personal E-mail from Edward Bond. In Cooper, C. and Ballin, B. (2012). The edge: Teacher’s resource. [Personal e-mail from Chris Cooper in 2014.]
  • Cooper, C. (2013). Tell me a story: Interview with Chris Cooper. In Billingham, P. (Ed.), Edward Bond: A critical study (1st ed., pp. 155-166). Great Britain: Palgrave Macmillan.
  • Cooper, C. and Ballin, B. (2012). The edge: Teacher’s resource. [Personal e-mail from Chris Cooper in 2014.]
  • David, D. (2005). Edward Bond and dramatic child. London: Trentham Books.
  • Davis, D. (2007). Edward Bond ve eğitimde drama. Yaratıcı Drama Dergisi, 1(3), 79-101.
  • Davis, D. (2009). Commentary. In Bond, E. Saved (1st ed., pp. xviii-xxxi). London: Bloomsbury.
  • Doona, J. (2005). The sheet of glass: a drama project by Tameside schools on an Edward Bond poem. In Davis, D. (Ed.), Edward Bond and dramatic child (1st ed., pp. 93-110). London: Trentham Books.
  • Gardner, L. (2012, April 24). Have I none / the under room. The Guardian. Retrieved from http://www.theguardian.com
  • Hay, M., and Roberts, R. (1980). Bond: A study of his plays. London: Methuen Drama.
  • Hemley, M. (2014, July 4). Edward Bond hit out at Arts Council’s cuts. Retrieved from www.thestage.co.uk
  • Hulson, M. (2012). Edward Bond – 50 years in theatre. Journal of Drama in Education, 28(2), 73-74.
  • Hutchinson, D. (2016, February 9). Edward Bond: English stage is dead. Retrieved from www.thestage.co.uk
  • Katafiasz, K. (2005). Alienation is the “Theatre of Auschwitz”: an exploration of form in Edwad Bond’s theatre. In D. Davis (Ed.), Edward Bond and dramatic child (1st ed., pp. 25- 48). London: Trentham Books.
  • Mohamed, K. K. (2010). Dramatic techniques of Edward Bond (Unpublished Doctoral Dissertation). Sri Venkateswara University, Tirupati, India.
  • Nicholson, H. (2003). Acting, creativity and social justice: Edward Bond’s the children. Research in Drama Education, 8(1), 9-23.
  • Nicholson, H. (2009). Theatre & education. UK: Palgrave Macmillan.
  • Nicolás, S. (2016). The trigger of the truth is in your hands: Conversation with Edward Bond. Contemporary Theatre Review, 26(2), 258-266.
  • Parlak, E. (2018). Edward Bond, the children, sevgi ve şiddet. Erzincan Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 11(1), 305-312.
  • Peacock, K. (1991). Radical stages: Alternative hislory in modern British drama. New York: Greenwood Press.
  • Procter, C. and Cooper, C. (2012). The broken bowl education resource. [Personal e-mail from Chris Cooper in 2014.]
  • Román, S. N. (2010). A challange for educational theatre: Edward Bond’s the children. Retrieved from https://uvadoc.uva.es/bitstream/10324/22685/1/ES-2010-31-AChallengeForEducational.pdf
  • Saunders, G. (2004). Edward Bond and the celebrity of exile. Theatre Research International, 29(3), 256-266.
  • Sharma, S. (2012). On violence and justice in modern society: the rolde of theatre in building a human society – a selective study of Edward Bond’s plays. Journal of Rajasthan for Studies in English, 8, 49-57.
  • Sharma, S. (2014). Revisiting history & creating humanness: a study of Edward Bond’s play at the inland sea. IJLTEMAS, 3(3), 25-27.
  • Takkaç, M., & Biçer, A. G. (2009). Edward Bond’s play for children: Education for sustainable development and the need for Theatre in Education. Retrieved from https://www.researchgate.net/publication/277148686_Edward_Bond's_Play_for_Children_Education_for_Sustainable_Development_and_the_Need_for_Theatre_in_Educat ion
  • Tuaillon, D. (2015). Edward Bond: The playwright speaks. London: Bloomsbury.
Toplam 53 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Konular Sanat ve Edebiyat
Bölüm MAKALE
Yazarlar

Uğur Ada 0000-0002-0346-0753

Erdinç Parlak 0000-0002-7184-8709

Yayımlanma Tarihi 25 Mart 2020
Gönderilme Tarihi 6 Aralık 2019
Yayımlandığı Sayı Yıl 2020 Cilt: 10 Sayı: 1

Kaynak Göster

APA Ada, U., & Parlak, E. (2020). Edward Bond’un At The Inland Sea Oyununda Zaman Olgusunun Kadın Karakterler Üzerinden Temsili. Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi, 10(1), 34-47.

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