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Mark Ravenhill’in Faust Is Dead Ve Pool (No Water) Oyunlarinin Postdramatik Özellikleri

Postdramatic Aspects of Mark Ravenhill’s Faust is Dead and Pool (No Water)

Journal Name:

  • Celal Bayar Üniversitesi Sosyal Bilimler Enstitüsü Dergisi

Publication Year:

  • 2016
DOI: 
10.18026/cbusos.89298

Key Words:

Keywords (Original Language):

Author NameUniversity of AuthorFaculty of Author
Abstract (2. Language): 
This study highlights new tendencies in the contemporary theatre of Ravenhill’s distinctive plays, which apply postdramatic aspects of time, space, body and media related to Hans Thies Lehmann’s work, Postdramatic Theatre (2006). Introducing the aspects of postdramatic theatre, this paper examines how Mark Ravenhill’s plays can be adopted to postdramatic conditions in contemporary theatre and how these aspects create time inconsistency, unspecified space, active bodies and mediatized culture. Considering these aspects, this paper analyses Mark Ravenhill’s plays Faust is Dead (1997) and Pool (No Water) (2006) to show how these aspects change the form and understanding of the plays. A detailed analysis, especially using postdramatic aspects of body and media, about Faust is Dead and Pool (No Water) is carried out in this paper. This analysis opposes traditional aspects in dramatic theatre of the use of non dramatical texts, performance, active body and spectators. With these distinctive plays Mark Ravenhill deconstructs conventional rules, text, language and characters.
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Abstract (Original Language): 
Bu çalışma, Hans Thies Lehmann’ın eseri Postdramatik Tiyatro (2006) içerisinde yer alan zaman, mekan, beden ve medya özelliklerine başvurarak Ravenhill’in aykırı oyunlarının çağdaş tiyatrodaki yeni eğilimleri vurgular. Postdramatik tiyatro özelliklerini önceleyerek Mark Ravenhill’in oyunlarının çağdaş İngiliz tiyatrosu kapsamında postdramatik koşullara nasıl adapte olabildiğini ve bu özelliklerin zaman uyumsuzluğunu, belirsiz uzamı, aktif bedenleri ve medyalaşmış kültürü nasıl yarattığını araştırır. Bu özellikler dikkate alınarak bu makale biçimin ve oyunların genel anlayışının nasıl değiştiğini göstermek için Mark Ravenhill’in Faust is Dead (1997) ve Pool (No Water) (2006) oyunlarını analiz eder. Bu çalışmada, özellikle beden ve medyanın postdramatik özellikleri kullanılarak Faust is Dead ve Pool (No Water) oyunları ile ilgili detaylı bir analiz yapılır. Bu analiz, dramatik olmayan metinlerin, performansın, aktif beden ve seyirci kavramlarını kullanmasıyla geleneksel dramatik tiyatro yapısına karşı çıkar. Bu özgün oyunlarla Mark Ravenhill geleneksel kuralları, metni, dil ve karakterleri yapı bozumuna uğratır.
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  • Turkish

REFERENCES

References: 

BARNETT, David. (2008), “When is a Play not a Drama? Two Examples of Postdramatic Theatre Texts”, Cambridge University Press, 24(1), p. 14-23.
BARNETT, David, LEHMANN Hans T. and Karen Jürs, M. (2006), “Taking Stock and Looking Forward: Postdramatic Theatre”, Contemporary Theatre Review: An International Journal 16.4, p. 483-9.
GRAHAM, Saunders. A Comprehensive Guide For Students (+16), teachers and arts Educationalists, Frantic Assembly, Drum Theatre. http://www.franticassembly.co.uk/media/media/downloads/pool_no_water_Res....
HAAS, Birgit. (2007), Plädoyer für ein dramatisches Theater. Wien: Passagen.
LEHMANN, Hans T. (2006), Postdramatic Theatre. London: Routledge.
POSCHMANN, Gerda. (1997), Der nicht mehr dramatische Theatertext. Aktuelle Bühnenstücke 112 und ihre dramaturgische Analyse. Tübingen: Niemeyer.
RAVENHILL, Mark. (2001), Faust is Dead, Ravenhill Plays 1, Methuen, London.
---. (2008a), Introduction. Pool (No Water). Plays 2. London: Methuen Drama.
---. (2008b), Plays 2. London: Methuen Drama.
SOBCHACK, Vivian. (2000), ‘The Scene of the Screen: Envisioning Cinematic and Electronic “Presence”’, in R. Stam and T. Miller (eds), Film and Theory: An Anthology, Malden, MA, and Oxford: Blackwell Publishers, p. 67–84.
WOOLF, Brendon. (2013), “Towards a Paradoxically Parallaxical Postdramatic Politics”, in Jürs-Munby Karen et al (ed.), Postdramatic Theatre and the Political, p. 31-47.

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