Atıf Sayısı
1
Görüntüleme
36
İndirme
1
Bu çalışmada, 2000 yılından bu yana feminist bir tiyatro topluluğu olarak çalışmalarını sürdüren Tiyatro Boyalı Kuş’un kurucusu Jale Karabekir ile yapılan görüşme ile feminist tiyatronun ana akım tiyatrolardan farklarına, feminist tiyatro oyunlarında metin kurgusu ve beden kullanımı arasındaki ilişkiye, feminist tiyatronun yerli-yabancı oyun seçimlerine, eril dil ile yazılmış metinlere olan yaklaşımlarına ve yabancı oyunların Türkçeye çevrilme/uyarlanma sürecine ışık tutulması amaçlanmıştır. İngiliz feminist yazar Virginia Woolf’ün 1929 yılında yayımladığı ve Jale Karabekir’in 2019’da çevirdiği/uyarladığı “Kendine Ait Bir Oda” adlı oyunun ardından Karabekir’e e-posta ile sekiz açık uçlu soru yöneltilmiştir. Bu sorulara verilen yanıtlar feminist çalışmalardan beslenen feminist tiyatro kuramları çerçevesinde betimsel analiz yöntemiyle incelenmiştir. Yukarıda söz edilen tiyatro oyunu ve Karabekir’in değerlendirmeleri ile sınırlı bu betimleyici çalışmada Türkiye’de özellikle 1980 sonrasında bağımsız bir şekilde yoluna devam eden kadın hareketinin feminist tiyatroların temelini attığı, bir feminist tiyatro olan Tiyatro Boyalı Kuş’un ana akım tiyatrolardan en temel farkının “kolektif yapıyı ve bilinci” uygulamak olduğu, söz konusu feminist tiyatronun eril bakış açısıyla yazılmış metinleri feminist dramaturji ile yeniden okuyarak bu metinlerde kadını nesneleştiren cinsiyetçi dili yapıbozuma uğrattığı, kadınların kendilerini ilk ağızdan anlatabilecekleri ve hem sözleriyle, hem de bedenleriyle sahnede özne konumunda yer almalarını sağlayan feminist tiyatro metinleri ürettiği ve oynadığı, yabancı oyun metinlerinin çevrilme sürecinde telif hakkı vb. hususlar ortaya çıktığından ve sahip oldukları kısıtlı bütçeden dolayı bu feminist tiyatronun çoğunlukla oyun metinlerini kendisinin yazdığı, kısacası ülkemizdeki feminist tiyatroların ana akım tiyatrolara bir alternatif olduğu gibi sonuçlara ulaşılmıştır.
In this study, the conversation with the founder of the Theatre Painted Bird, Jale Karabekir, who has been working as a feminist theatre community since 2000, and the differences between the feminist theatre and the mainstream theatres, the relationship between the fiction of the text and the use of the body in the feminist theatre games, the feminist theatre's domestic-foreign game choices, the approach to the text written with the eril language and the process of translation/warning of foreign games into Turkish. After the game "A Self-Aid Room" published by British feminist writer Virginia Woolf in 1929 and translated by Jale Karabekir in 2019, Karabekir was sent eight open end questions by e-mail. The answers to these questions have been studied by the visual analysis method in the framework of the feminist theatre theories feeding from feminist studies. The above-mentioned theatre game and Karabekir’s assessments are limited to this illustrative work in Turkey, especially after 1980, where the feminist theatres were founded by the female movement that continued its way independently, the main difference from the mainstream theatres of the Theatre Painted Bird was to apply the “collective structure and consciousness”, the feminist theatres in question re-read the texts written with an eril point of view with the feminist drama, the female language that objectivizes the woman in these texts, the female theatres, the female theatres, the female theatres, the female theatres, the female theatres, the female theatres, the female theatres, the female theatres, the female theatres, the female theatres, the female theBecause the facts arise and because of the limited budget they have, this feminist theatre has mostly achieved the results as it is an alternative to the mainstream theatres of our country, which has written its own play texts.
This study aims at presenting an overview of the differences between feminist theatres and mainstream theatres, the relation between the text and the use of the body in feminist plays, feminist theatres’ choice of domestic-foreign plays, their approach to the plays written with patriarchal tradition and the translation/adaptation process of foreign plays into Turkish via the interview by Jale Karabekir, the founder of Tiyatro Boyalı Kuş (Theatre Painted Bird) which has been continuing its works as a feminist theatre community since 2000. After watching the play “A Room of One’s Own” that was translated/adapted from the feminist text written by Virginia Woolf in 1929 into Turkish by Jale Karabekir in 2019, eight open-ended questions were prepared and sent to Jale Karabekir through e-mail. Her answers to the questions were analysed with the descriptive method in the light of feminist theatre theories based on feminist studies. As a result of this descriptive study, which is restricted to the above-mentioned play and its director/translator’s evaluations, it is concluded that feminist movement that has continued independently especially since 1980 in Turkey is the impetus for the founding of feminist theatres, Theatre Painted Bird is fundamentally different from mainstream theatres with their collective structure and consciousness, they re-read the plays written from the male point of view with the help of feminist dramaturgy deconstructing the gendered language, so instead of the traditional plays where women are objectified and given gendered roles by men, feminist plays are produced and performed where women can explain themselves at first hand and become a subject via their words and bodies on the stage, they mostly write their own plays due to copyright costs and their limited budget, shortly, feminist theatres have become an alternative for mainstream theatres in Turkey.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
Makale Detay 
Atıf Yapanlar
Benzer Makaleler
PDF Görüntüle
Dergi Bilgisi
Eseri Dinleyin
Bu Sayfayı Yazdırın
Paylaş
Mendeley
