David Mamet’ in Glengarry Glen Ross Adlı Eserinde Maçoluk ve Eş-Sosyallik

Amerikan edebiyatının ve sinemasının önemli isimlerinden biri olan David Mamet bir çok oyun ve senaryo yazmış ve bunların bir çoğunu yapımcılığını ve yönetmenliğini kendisi üstlenmiştir. Tümü erkek karakterlerden oluşan Glengarry Glen Ross işten atılma korkusuyla ofisteki panoda isimlerinin en alta yazılmasını istemeyen dört gayrimenkul satıcısıyla ilgilidir. Bu korku onları manipülasyona, yalancılığa ve hatta kanunsuzluğa yönlendirir. Oyundaki en göze çarpan şey karakterlerin birbirleriyle olan ilişkileridir. Karakterler, ahlak ve ilke yoksunudur. Eş-sosyal ofis, karakterlerin hayatta kalmaya çabaladığı bir maço arenaya dönüşür. Mamet, oyunda Amerikan rüyasına referans yaptığı Darvinist bir toplumu hicveder. Karakterlerin birbirleriyle olan ilişkisi modern çağa karşılık ilkel ve pragmatist durur. Bu minvalde oyun erkek iç dünyasını göstermek bakımından önemli bir rol üstlenir. Bu çalışmada David Mamet’ın önemli oyunu Glengarry Glen Ross maçoluk, eş-sosyallik ve erkek psikolojisi açılarından irdelenecektir.

Machismo and Homosociality in Mamet’s Glengarry Glen Ross

One ofthe distinctive persons of American literature and cinema, David Mamet haswritten a great number of plays and scripts and many of which are produced ordirected by Mamet himself. Glengarry GlenRoss consisting of all male characters deals with four real estate salesmenwho do not want to be the bottom name on the board in their office for fear ofdismissal. This fear leads them to manipulation, falsehood and even illegality.The most conspicuous thing in the play is characters’ relationships to eachother. Characters have a lack of morality and principle. The homosocial officeturns into a macho arena where characters endeavor to survive. Mamet satirizesa dog-eat-dog society in the play, which has also a reference to Americandream. The characters’ interaction to each other seems primitive andmanipulative despite modern age. In this sense, the play also reveals male’sinner psychology because human’s instinctual aims such as surviving and potencyare unearthed in the play. In this study David Mamet’s distinctive play Glengarry Glen Ross will be argued withmachismo, homosociality, man’s psychology.

PDF

___

Bigsby, C. W. E. (2004a). The Cambridge Companion to David Mamet. New York: Cambridge University Press.
Bigsby, C. W. E. (2004b). David Mamet: All True Stories. In: Harold Bloom (ed.), Bloom’s Modern Critical Views: David Mamet (pp. 163-201). Philadelphia: Chelsea House Publishers.
Bloom, H. (2004). Bloom’s Modern Critical Views: David Mamet. Philadelphia: Chelsea House Publishers.
Bruster, D. (2004). David Mamet and Ben Jonson: city Comedy Past and Present. In: Harold Bloom (ed.),Bloom’s Modern Critical Views: David Mamet (pp. 4156). Philadelphia: Chelsea House Publishers.
Dean, A. (2004). Sexual Perversity in Chicago. In: Harold Bloom (ed.), Bloom’s Modern Critical Views: David Mamet, (pp. 5-40). Philadelphia: Chelsea House Publishers.
Digou, M. (2003). Hitchcock's MacGuffin in the Works of David Mamet. Literature/Film Quarterly, 31(4), 270-275
Garaventa, E. (1998). Drama: A Tool for Teaching Business Ethics. Business Ethics Quarterly, 8(1), 535-545.
Goldensohn, B. (2000). Melville's "The Confidence Man" and His Descendants in David Mamet's Work. AGNI, 52, 248-256.
Holmberg, A. (2014). David Mamet and Male Friendship: Buddy Plays and Buddy Films New York: Palgrave Macmillian.
Mamet, D. (1988), David Mamet. In: David Savran (ed.), In Their Own Words: Contemporary American Playwrights, (pp. 132-144). New York: Theatre Communications Group.
McDonough, C. J. (1992) Every Fear Hides a Wish: Unstable Masculinity in Mamet's Drama. Theatre Journal, 44(2), 195-205.
Nightingale, B. (2004). Glengarry Glen Ross. In: Christopher Bigsby (ed.), The Cambridge Companion to David Mamet (pp.89-102). New York: Cambridge University Press.
Piette, A. (2004). The 1980s. In: Christopher Bigsby (ed.), The Cambridge Companion to David Mamet, (pp. 7488). New York: Cambridge University Press.
Quinn, M. L. (2004). Anti-Theatricality and American Ideology: Mamet’s Performative Realism. In: Harold Bloom (ed.), Bloom’s Modern Critical Views: David Mamet (pp. 93-110). Philadelphia: Chelsea House Publishers.
Radavich, D. (2004). Man Among Men: David Mamet’s Homosocial Order. In: Harold Bloom (ed.), Bloom’s Modern Critical Views: David Mamet (pp. 69-80). Philadelphia: Chelsea House Publishers.
Roudané, M. (2004). Betrayal and friendship: David Mamet’s American Buffalo. In: Christopher Bigsby (ed.), The Cambridge Companion to David Mamet, (pp. 57-73). New York: Cambridge University Press.
Tepper, B. J. (2000). Consequences of Abusive Supervision. The Academy of Management Journal, 43(2), 178-190.
Vorlicky, R. (1995). "No Use Gabbin' Here All Night": Male Talk and Silence in "Hughie. The Eugene O'Neill Review, 19( ½), 81-94.
Weales, G. (1984) American Theatre Watch, 1983-1984. The Georgia Review, 38(3), 594-606.
Zinman, T. S. (1992). Jewish Aporia: The Rhythm of Talking in Mamet. Theatre Journal, 44(2), 207-215