Özet:

Edward Bond asserts that art is significant because it is made up of a constant dialectic of variation in which every idea is subject to criticism. Bond does not argue that a utopian work of art resolves actual conflicts in a fictitious setting; rather, he emphasises that it exposes these issues in a concrete way in its internal structure and reflects the need for a new and different existence. The aim of this paper is to demonstrate how Bond, one of the most prominent representatives of Marxist-dialectical theatre, creates a dramaturgy of utopia (individual)/dystopia (dividual) and hope/hopelessness in his plays The Bundle (1978) and Summer (1982). Bond believes that art, particularly theatre, should be employed to encourage the desire for a socialist utopia. Bond does not resolve the contradictions of life (within capitalism) in a utopian fiction; rather, he contends that the problems of capitalist exploitation that drive individuals to hopelessness should be made visible in his plays’ internal structure. He does this through a kind of Brechtian theatre where the contradictions of capitalism are foregrounded. Like Brecht, Bond attempts to use theatre to promote change in society - both represent the fundamental problems of society to convince spectators that social change is necessary and possible. Bond purposefully employs a mix of political propaganda and a utopian hope for a new and different existence. His plays exhibit a desire for a politically awake society, and a peaceful world that prioritises equality and freedom.