Tradition And Novelty in 20th Century English Drama (Series C)
Journal Name:
- Çankaya University Journal of Arts and Sciences
Author Name | University of Author | Faculty of Author |
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Abstract (2. Language):
In establishing Englands long lasting tradition of drama playwrights almost always deviated from
the norms represented in foreign models that influenced them. The elements of native English drama
as well as innovations by specific English playwrights interfered with the norm so as to produce a
novel approach to the writing of plays in almost every period that marks the development of English
drama since Shakespeares time. Shakespeare violated the unities of time, place and action, and never
stuck to the unity of genre. Restoration drama produced a highly novel use of typically English witty
dialogue cleverly imposed upon the familiar classical plot structure of comedy of manners, while in
the 18th century, the unpromising native genres like heroic drama and sentimental comedy were
parodied by other playwrights of the time. In the late 19th century Oscar Wilde updated the traditional
form of comedy of manners by a subversive use of its cliches. In early 20th century Shaw came up with
his realistic comedy of ideas by leaving out Ibsens melodramatic plot structures and blending
his realistic drama of discussion with the Old Comedy of Ancient Greece represented by the work of
Aristophanes. Post-war English drama enjoyed John Osbornes and Arnold Weskers skillful use of the
good old rhetoric in modern dress. Harold Pinter in turn blended the theatre of the absurd with
elements of neonaturalism, while John Arden in Sergeant Musgraves Dance juxtaposed
Shakespearean discourse against the Brechtian. Peter Shaffer and Carol Churchill defamiliarised the
stage by replacing the familiar with the unexpected through novel approaches to their subject
matter. Finally, in postmodernising English drama, Tom Stoppard made full use of the tradition that
had reached his time through a playful treatment of all the novel attitudes that had produced the
playful quality of English playwriting.
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Abstract (Original Language):
İngiliz tiyatro geleneğinin oluşumunda, yazarlarõn yabancõ etkileri bire bir uygulamaktan kaçõndõ-
karõ görülür. İngiliz tiyatrosuna ilişkin özellikler yanõnda yazarlarõn kişisel yaklaşõmlarõ da, yabancõ etkilerin bir oranda dönüştürülerek, ortaya özgün biçimler çõkarõlmasõnõ sağlamõştõr. Shakespearein
yer, zaman, olay birliği ve tür birliği kurallarõna uymayõşõ buna örnektir. Restorasyon döneminde,
yüzyõllardõr bilinen töre komedisinin İngilizlere özgü nükteli söyleşimlerle zenginleştirilmesi, 18.
yüzyõlõn kahramanlõk dramõ ve duygusal komedi türlerinin başka oyunlar yoluyla hicvedilmesi, 19.
yüzyõlõn sonlarõnda Oscar Wildeõn İngiliz töre komedisini, toplumda moda olan davranõş biçimlerini
eleştirme adõna ters amaçlõ olarak kullanmasõ, İngiliz yazarlarõn kullandõklarõ dram türlerine her aşamada
yenilik getirme çabalarõnõn göstergesidir. İkinci Dünya Savaşõ sonrasõ yazarlarõndan John Osborne
ve Arnold Weskerõn retorik söylevleri sõradan karakterlerin konuşmalarõnda uygulamasõ, John Arden
in Musgravein Dansõ oyununda Shakespeare ve Brechtin tiyatro söylemlerini buluşturmasõ,
Harold Pinterõn absürd tiyatro teknikleri ile yeni-doğalcõ dramõ buluşturmasõ, Peter Shafferin ve Carol
Churchillin kendilerine özgü yaklaşõmlar kullanarak oyunlarõnda tanõdõk durumlarõ yabancõ
kõlmalarõ yoluyla da kural her zaman kural dõşõ kullanõmlarla yeni ve farklõ olana açõlmõştõr. Aynõ
özellik, İngiliz tiyatrosunun, normlardan saparak yenilik kotarma geleneğini tiyatroyu postmodernleştirme
yolunda oyunsu bir yaklaşõmla değerlendiren Tom Stoppardõn yapõtlarõnda da gözlemlenmektedir.
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