Abstract:

The theatre, from the moment that man exists, has told man again about the individual’s struggle with himself, with his surroundings, with the society, and sometimes from the scene of their contradictions. Thro the centuries, the way the human being existed has changed its form or meaning, but the art and the theater have also changed its way to share it with the audience. In the twenty-first century, in England, a new theater, called in-yer-face, comes into understanding. The game writers assessed in this stream, especially by challenging definitions such as normal-abnormal, good-bad, devil-innocent, human-animal, are fighting for many recognitions, concepts, which are accepted by everyone and therefore not questioned. Also, the game writers prefer to be more mindful by presenting to the audience the dark side of the game in a visual, brutal language or shock tactics. This game writers aim to be directly influenced by the pain, without insult, shown on the stage by giving the audience physical and psychological violence. Violence in the theater is actually from the Ancient Greek Theatre. But the form of violence on the stage has been different in every period. Ancient Greek audience, instead of seeing violence on the scene, made outcomes from the words of a narrator or a messenger, as well as from the characteristics of the Ancient Roman audience, wanted to see violence on the scene. Violence is actually a phenomenon that exists in the human nature but is hidden under many masks along with civilization. The theatre feeding from society has also tried to reflect the violence on the stage with many other means in the process after the ancient Rome. But after the poor theatre’s predecessor, Agusto Boal, which was not much applied and misunderstood by those who came after him, said that the existence called man should be interpreted naked, the in-yer-face theatre did not hesitate to use violence very clearly on the stage and the audience would be disturbed by it. The reason for the appearance of the in-yer-face theatre is also to show that the lives that people sometimes rely on the mind and sometimes technology are actually a big lie, that looking happy never means to be happy, that every individual that forms society is shared in this misleading. Today's English-born Irish writer Martin McDonagh is known for being the major game writer of the twentieth century. Leenane Tridlemesi and the famous game writer in Turkey, Yastık Adam, referring to a sensitive topic such as domestic violence, which is considered a taboo in society, presented it to the audience/readers in a legendary atmosphere. This game, which is also accepted in the In-Yer-Face stream, where many of the topics neglected in society are presented to the audience especially naked, focuses on the application of violence against the child considered to be innocent beings. The victim of the game is a child, which causes the feelings of anger and hatred to become more intense. In this study, McDonagh’s “The Roof Man” is questioning the existence of the element of violence in society, starting from family, while in the same time, the subjects such as the fundamental rights and freedoms of the individual, state terrorism, individual-state relationship, the role of the family and the state in the creation of identity, the social responsibility of the writer are also assessed around the concept of violence. In addition to this topic, McDonagh preferred to address the stories of the game's main hero Katurian to the reader / reader in an atmosphere of violence. So McDonagh succeeds in leaving Katurian in the disagreement. For Katurian, on the one hand, is trying to save her and her brother’s lives, while the stories that she writes will live forever. With this game, McDonagh gives the audience thoughts on topics such as childhood, violence, literature, immortality.

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