Browsing by Author "Izmir, Sibel"

Now showing 1 - 4 of 4

Dramatic and Postdramatic Strategies in Mark Ravenhill's Pool (no Water)
(Dakam Publishing, 2014) Izmir, Sibel; Department of English Language and Literature; Department of English Language and Literature; 17. Graduate School of Social Sciences; 02. School of Arts and Sciences; 01. Atılım University
[No Abstract Available]
Citation - WoS: 3
The Oscillation Between Dramatic and Postdramatic Theatre: Mark Ravenhill's shopping and F***ing
(Gunter Narr verlag, 2017) Izmir, Sibel; Department of English Language and Literature; Department of English Language and Literature; 17. Graduate School of Social Sciences; 02. School of Arts and Sciences; 01. Atılım University
Drama and theatre, which are distinctive forms of art, stand among those concepts which are often used interchangeably regardless of their uniqueness. In order to contextualize and reassess this relationship between drama and theatre, Hans-Thies Lehmann, a German scholar and theoretician, has provided a useful formulation in his ground-breaking study Postdramatic Theatre. He claims that theatre has been subordinated by drama particularly in western cultures until the 1960s. This has naturally resulted in a domineering position of the dramatic text and the playwright in the final production. Lehmann argues that since the 1960s western theatre has demonstrated an interest in creating theatrical productions which display an equal treatment of the playtext, playwright, director, performers, costumes, decor, etc. in order to subvert the rooted hierarchal order. In his book, he does not neglect to mention that British "in-yer-face" dramatists are also among those who have influenced the emergence of German-based productions with their shock tactics to capture the audience. In such productions, the events happening on the stage make the audience feel as if they are attacked. The British playwright, Mark Raven hill, is one of such in-yer-face dramatists. This study will offer an exploration of Ravenhill's Shopping and F***ing in the light of Lehmann's theory of post dramatic theatre. The study puts forward that the play under examination goes beyond the confines of in-yer-face sensibility and exhibits a tension between dramatic and postdramatic theatre.
Transformative Potential and Utopian Performative: Postdramatic Hamlet in Turkey
(Lodz Univ Press, 2022) Izmir, Sibel; Department of English Language and Literature; Department of English Language and Literature; 17. Graduate School of Social Sciences; 02. School of Arts and Sciences; 01. Atılım University
Turkey is among those Non-Anglophone countries which have had a keen interest in Shakespeare and his plays for over two hundred years. When it comes to the staging of Shakespeare in Turkey, especially when protagonists or leading roles are considered, "overacting" is one of the most notable techniques highlighting, presumably, the spirit of the Renaissance and Jacobean times. Still, in recent years, there have been some productions which try to challenge and deconstruct the traditional ways of staging a Shakespearean play. One of such productions is Hamlet of Istanbul State Theatre, directed by Isil Kasapoglu in 2014, in which the director makes use of postdramatic theatre techniques. As the play begins, the audience sees a huge red jewel box which has been placed onto the centre of the stage. Soon after it is opened, it becomes clear that the character coming out of the box is playing and enacting not only the role of Hamlet but also many other roles in the play. Disrupting the habitual Shakespearean staging which heavily relies on mimesis in a closed "fictive cosmos" (Lehmann 22), the production, more strikingly, allows for an innovative Shakespearean acting as an innovative Shakespearean acting possible as the actor acts out all the major roles, such as Hamlet, Claudius, Gertrude, Ophelia, Polonius, etc., in such various ways as holding dummies in his hands and enacting their roles in monologues and dialogues. Fusing Hans-Thies Lehmann's theory of postdramatic theatre with Jill Dolan's argumentation on utopian performative, this study will investigate how postdramatic theatre techniques challenge the traditional Shakespearean performance and contends that postdramatic theatre techniques used in Kasapoglu's Hamlet contribute to the utopian performative and the possibility of creating a utopian impulse in the audience. The paper thus will claim that postdramatic performance of Hamlet renders a utopian performative possible by presenting a transformative potential in the audience members which engages in our present moment.
When Anger Turns Into Rage: Displacement in John Osborne'slook Back in Anger
(Routledge Journals, Taylor & Francis Ltd, 2022) Izmir, Sibel; Department of English Language and Literature; Department of English Language and Literature; 17. Graduate School of Social Sciences; 02. School of Arts and Sciences; 01. Atılım University
[No Abstract Available]