Özet:

The great destruction created by the Second World War has profoundly affected the writer generations after 1950. The British play writer and theatre theorist Edward Bond has lived a childhood in the shadow of war, expulsions, bombs, deeply felt violence and destruction. That’s why he’s also put in the stories of a world where violence is in the center of generally. Bond’s theatre, which is responsible for transforming society into the writer and theatre, appears to be put on a political ground. This political ground brings intense traces of Brecht’s influence spread throughout Europe after 1950. Brecht’s responsibility to the theatre, the effort to have an encouraging impact on the audience, the idea of ensuring the development of a remote perspective by depriving the subject, the situation, the relationships with various effects, created a ground for Bond’s work. The use of 'aggro-effect' that Bond revealed in his early literary studies is the result of such a search. Bond, using the ‘aggro-effect’ and criticizing Brecht’s ‘extraordinating effect’, aims to create a more shocking and shocking effect on the audience of the age. Lear, from the first period of games, is a text that this effect is widely used. Bond, who wants to discuss an age of violence, another story of violence, and to describe it in a language that is suitable for today, has rewrite Shakespeare's King Lear game. In a sense, Bond conducted a calculation in the theatre mind both with his counterpart Brecht, one of the most important representatives of the social theatre, and with Shakespeare, who was called the "biggest writer of all time." The study aims to look closely at the violence objects that have penetrated the Lear game in the light of these calculations and the use of 'aggro-effect'.

Anahtar Kelimeler:

Özet:

The great destruction caused by the Second World War left an immense impact on the generation of writers of the post 1950s. The English playwright and theorist Edward Bond lived a childhood in the shadow of war, bombs and exile and experienced violence and destruction at first hand. This is why in his plays he has displayed a world in which violence in central to the narrative. Bond’s theatre does hold a political stand, as he places the responsibility of transforming society on the shoulders of writers and the theatre. This political stand carries influences of Brecht which was widespread across the Europe of the post-1950’s. The responsibility Brecht placed on the theatre, his effort to create a stimulating effect on the spectator, his idea of achieving distancing via the use of various effects in the presentation of the topic, the situation and relationships by means of alienation was the groundwork for Bond’s work. The ‘aggro-effect’ technique he came up with in his early years as playwright was the result of such inspiration. Bond pursued to simultaneously present a critique of the ‘alienation effect’ introduced by Brecht and create impact which would startle and shock the spectators of his time. One of his earlier works Lear, is one such example of a text to this effect. In an age ravaged by violence, Bond rewrote Shakespeare’s King Lear, to take up another narrative of violence, and tell it in a language spoken today. In this sense concerning the matter of the idea of the theatre, Bond settles accounts with both one of the most influential figures of social theatre, his contemporary Brecht, and Shakespeare the greatest bard of all times. This study aims to take a closer look via the abovementioned accounts settled, at the element of violence in Lear and the use of the ‘aggro-effect’.