CHANTAL BILODEAU'NUN SILA ADLI OYUNUNDA EKOFOBİDEN EKOZOFİYE

Son zamanlarda çeşitli eleştirel ve edebi eserlerde ele alınan ekolojik düşünce, tiyatro ve performans sanatları alanında, hem teori hem gösteri bağlamında, yavaş yavaş yer bulmuştur. Ekolojik karşılıklılığı, dramatik ve tematik içeriğinin merkezine yerleştiren ekolojik tiyatro, insanları ve insan olmayanları birbirlerine karşılıklı olarak bağlı bir çerçevede konumlandırarak, Batı tiyatrosunun insan merkezci yaklaşımını reddeder. Böylece, ekolojik tiyatro, insanın insan olmayana üstünlüğünü varsayarak kültür/doğa ikiliğini destekleyen, ekofobi kavramını sorunsallaştırır. Felix Guattari'nin Üç Ekoloji (2000) adlı eserindeki 'ekozo' kavramına dayanan, ekozok tiyatro, yalnızca insan ve insan-dışı varlıklar arasındaki etkileşimleri değil, aynı zamanda sosyal ilişkileri ve insan öznelliğini de kapsayan yeni bir tür ekolojik tiyatro olarak ortaya çıkar. Böylelikle, bu makale, ekozok tiyatronun özelliklerini ön plana çıkararak,bu tiyatro türünün öznel, toplumsal ve ekolojik boyutları 'yeni etik-politik ve estetik paradigmalar' aracılığıyla nasıl birbirine bağladığını ve yeni varoluş biçimlerine, toplumsal yeniden yapılandırmalara ve özgün komüniter modellere nasıl olanak sağladığını ortaya çıkarmayı hedeemektedir. Bu bağlamda, bu makale, Fransız-Kanadalı oyun yazarı Chantal Bilodeau'nın Sila (2015) adlı oyununu, ekozok bakış açısıyla analiz ederek, Bilodeau'nun Guattari'nin önerdiği yeni 'etik-politik-estetik paradigmalar' aracılığıyla, tiyatronun öznelliklerimizi dönüştürebilme kapasitesinden faydalanarak yeniden özneleştirme va toplumsal oluşum sürecine katıldığını göstermektedir.

FROM ECOPHOBIA TO ECOSOPHY IN CHANTAL BILODEAU'S SILA

Ecological thinking, which has recently found expression in a wide range of critical and literary works, has been slow to take hold in the eld of theatre and performance arts, both in scholarship and practice. Ecological theatre, placing ecological reciprocity at the centre of its dramatic and thematic content, rejects the humanist paradigm of Western theatre, situating humans and non-humans in a mutually reliant framework. Thus, ecological theatre problematizes the notion of ecophobia that postulates the superiority of humans over non-humans, shoring up culture/nature dualism. Drawing upon Felix Guattari's notion of 'ecosophy' in The Three Ecologies (2000), ecosophical theatre emerges as a new kind of ecological theatre, which includes not only human-non-human interactions but also social relations and human subjectivity. Therefore, by bringing into the spotlight the ecosophical theatre qualities, this paper aims at exploring how ecosophical theatre connects subjective, social, and ecological registers through new ethico-political and aesthetic paradigms and allows for fresh modes of existence, social recongurations, and original communitarian harmonies. In this context, by analyzing French-Canadian playwright Chantal Bilodeau's Sila (2015) from an ecosophical point of view, this paper indicates that Bilodeau participates in the processes of resingularization and social construction by making use of theatre's capacity to modify our subjectivities through the 'ethico-political and aesthetic paradigms' that Guattari suggests.

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