Gertrude Stein oyunlarında karşı-anlatı stratejileri
Küçük Resim Yok
Tarih
2020
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Unicersgt Press
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
Tiyatro söz konusuysa, 1970’li yılların düşünsel atası Tarihsel Avangard döneme bakınca iki isim özellikle öne çıkar: Kıta Avrupası’nda “akılcı söz” logosa, bu yüzden de metine itiraz eden Antonin Artaud, Amerika kıtasındaysa ilk oyunu What Happened’ı [Ne Oldu] yazarken Batı tiyatrosuna sımsıkı bir kemerle eklemlenmiş logosu, metini dışlamadan reddetmeyi deneyen Gertrude Stein. 1970’li yılların deneysel tiyatro girişimleri, tiyatrodan metini topyekûn dışlamış değildir: Robert Wilson’dan Richard Foreman’a deneysel tiyatro ya da Sarah Kane’den Martin Crimp’e yeni metinsellik, sözün ve yazının özgül ağırlığını başkalaştırmış; böylece hem tiyatro hem de performans klasik tanımlarının dışına taşan bir melezlenme açığa çıkarmıştır. Bu yazıda, metini dışlamak yerine konvansiyonel anlatı tanımının mutlak koşulu “olaylar dizgesi”ni tiyatrodan kaldırmayı deneyen Gertrude Stein oyunlarının karşı-anlatısal stratejilerini örneklemek amaçlanmaktadır.
When theatre in general is taken into consideration, two pioneers particularly stand out in the Historical Avant-Garde period and they can be seen as intellectual ancestors of the 1970s: Antonin Artaud from Continental Europe who objected to the “rational word” logos and therefore to the text; and Gertrude Stein from the American continent who tried to reject logos which fastened to Western theatre with a tight belt without negating text, while writing her first play What Happened. In experimental theatre attempts of the 1970s, the text was not totally rejected: in the experimental theatre from Robert Wilson to Richard Foreman or in the new-textuality from Sarah Kane to Martin Crimp, the density of the word and writing was altered; thus, a hybridization that exceeded both the theatre and performance classic definitions was revealed. The aim of this article is to exemplify the anti-narrative strategies of Gertrude Stein’s plays, in which she tried to remove the “sequence-of-events” of the absolute condition of the conventional narrative definition instead of negating text.
When theatre in general is taken into consideration, two pioneers particularly stand out in the Historical Avant-Garde period and they can be seen as intellectual ancestors of the 1970s: Antonin Artaud from Continental Europe who objected to the “rational word” logos and therefore to the text; and Gertrude Stein from the American continent who tried to reject logos which fastened to Western theatre with a tight belt without negating text, while writing her first play What Happened. In experimental theatre attempts of the 1970s, the text was not totally rejected: in the experimental theatre from Robert Wilson to Richard Foreman or in the new-textuality from Sarah Kane to Martin Crimp, the density of the word and writing was altered; thus, a hybridization that exceeded both the theatre and performance classic definitions was revealed. The aim of this article is to exemplify the anti-narrative strategies of Gertrude Stein’s plays, in which she tried to remove the “sequence-of-events” of the absolute condition of the conventional narrative definition instead of negating text.
Açıklama
Anahtar Kelimeler
Gertrude Stein, Karşı-Anlatı, Peyzaj Metin, Dramatik Yapı, Postdramatik, Gertrude Stein, Anti-Narrative, Landscape Text, Dramatic Structure, Postdramatic
Kaynak
Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi
WoS Q Değeri
Scopus Q Değeri
Cilt
30
Sayı
Künye
Saba-Akim, M. (2020). Gertrude Stein oyunlarında karşı-anlatı stratejileri / Anti-narrative strategies in the plays of Gertrude Stein. Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, İstanbul University Press. 30, s. 71-98.
