Exploring Crimpland : A play is a game. at the end of each dialogue there is a winner and a loser

Bu çalışma Martin Crimpin The Country oyununda anlattığı, çoğunlukla yalnız ve esrarengiz karakterlerin şehir merkezleri dışında kurdukları ve hapsoldukları dünyayı keş feder. Crimp sembolik ve absurdist aç ılardan incelediği ac ımasız insan ilişkilerini ve psikolojik bozuklukları yans ıtan birçok yenilikçi oyun yazmıştır. Yazar olaylar ın çoklu bakışaçılardan aksettiği çe şitli oyun teknikleri kullanır. Oyunlar ında kullandığı farklı uslup ve teknikler sayesinde Crimp, günümüz İngiliz tiyatrosunun en yenilikçi oyun yazarları arasında yer alır. The Country (2000) oyununu, yetiş kinlerin kendi aralar ında kurguladıkları güç oyunlarını vurgulamak üzere, bir çocuk oyunu olan taş-kağıt-makas oyununu temel alarak yapılandırır ve bu yenilikçi özelliğini bir kez daha kanıtlar. Be ş sahneden oluşan oyunun olay örgüsü biçimsiz diyaloglar, duraksamalar, kesintiler ve tekrarlardan oluşan bir dizi dolaşık, kaçamaklı rivayetler şeklinde karşım ıza ç ıkar. Oyun modern evliliklerin hapishane haline gelmiş aile-içi hayatlarını örneklendirir. Şehir merkezi dışında geçen hayatlar ı ve başkalarının bilinmezliği gibi konuları ele alırken Crimp sorgulama, yadsıma ve reddetme hilelerini kullanır. Adeta bir oyun kurgusu ş eklinde sunulan gereçler Oyun Teorisi terminolojisi kullanılarak de ğerlendirilecektir.

Crimp tiyatrosunu anlamak: Tiyatro bir oyundur. her diyaloğun sonunda kaybeden ve kazanan vardır

This paper intends to interpret Martin Crimps theatrical territory whose characters consist of lonely and mysterious occupants trapped together in the British suburbs. Crimp has written innovative plays in which he explores a symbolic and absurdist landscape of cruel personal relationships and psychological disorders. He employs various theatrical possibilities where incidents are reflected and refracted through multiple perspectives. The diversity of form and styles he employs in his plays makes Crimp one of the most innovative and original playwrights of new writing in Britain. He has structured The Country (2000) in the form of the childrens game of rock-paper-scissors in order to highlight the power games among adults; hence empowering his innovative style once more. The plays five scenes unfold the plot through a series of evasive stories that consist of shapeless dialogues, hesitations, interruptions and repetitions. The Country exemplifies domestic space in which modern marriages have become prisons. The contrasts in suburban life and the unknowability of the other are depicted through a game of question and negation, and tricks of language which will be evaluated by the vocabulary of Game Theory.

PDF

___

ARAGAY, Mireia, H. Klein, E. Monforte, P. Zozoya. (2007). British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics and Academics. London: Palgrave, Macmillan.
AYACHE, Solange. Theatre and Psychoanalysis: or Jung on Martin Crimp's Stage: 100 Words. http://sillagescritiques.revues.org/1838, viewed 01 October 2012.
BRAMS, Steven. (2011). Game Theory and the Humanities. MIT Press.
BRUNER, Jerome. A. Jolly and K. Sylva. (1976). Play. Harmondsworth: Penguin.
BUTLER, Robert. (1993). Just the right treatment from Crimp at the court. Theatre Record. 13: 433- 445.
COSTA, Maddy. (2007). Grievous bodily harm. The Guardian. 7 March http://arts.guardian.co.uk/theatre/drama/story/0,,2028036,00.html, viewed 01 October 2012.
CRIMP, Martin. (2000). The Country. London: Faber.
DROOMGOOLE, Dominic. (2000). The Full Room . London: Methuen.
ELLIS, Michael. (1973). Why People Play. Engelwood Ciffs, NJ: Prentice Hall.
HOWARD, Nigel. (1971). Paradoxes of Rationality: Games, Metagames, and Political Behavior . Cambridge, Massachusetts: The MIT Press.
LEHMANN, Hans-Thies. (2006). Postdramatic Theatre. London: Routledge.
MALKIN, J. (1992). Verbal Violence in Contemporary Drama . New York: Cambridge University Press.
PERRYMAN, Mark. (2008). Imagined Nation: England after Britain. London: Lawrence and Wishart.
PIAGET, Jean. (1963). The Origins of Intelligence on Children. New York: Norton.
SIERZ, Aleks. (2001). In-Yer-Face Theatre: British Drama Today. London: Faber and Faber.
_________. (2006). The Theatre of Martin Crimp. London: Methuen.
________. (2007). Form Follows Function: Meaning and Politics in Martin Crimp's Fewer Emergencies. Modern Drama. 50: 375-393.
_________. (2012). Interview with Martin Crimp. 10 March. http://www.theartsdesk.com/theatre/theartsdesk-qa-playwright-martin-crimp, viewed 01 October 2012
SPENCE, Joseph. (1820). Anecdotes , Observations and Characters, of Books and Men. 1: 462.
WILLIAMS, Raymond. (1975). The Country and the City. London: Chatto & Windus.
Yale French Studies _____http://french.yale.edu/yale-french-studies>., viewed 01 May 2012.
_____http://courses.temple.edu/economics/Econ_92/Game_Lectures/1st- Look/introduction_to_game_theory.htm#Strategic>., viewed 01 May 2012.