PSİKOLOJİK DÜZLEM: SIMON STEPHENS'IN “BLUEBIRD” OYUNUNDA SIGMUND FREUD VE BİLİNÇALTI

Doğaüstü varlıkları temsil etmek için maskeler ve doğadan ilhamını almış kostümlerle sergilenen ritüellerden, Erken Orta Çağ'da kiliseye dayalı bir dramatikleştirmeye dönerek Paskalya yortusunda İsa'nın teatral bir seremoni ile anılmasına ya da Elizabeth dönemi kaba kuvvetin yerini entrikalara bıraktığı bir dönemde, kılık değiştiren karakterlerin sahneyi doldurduğu Shakespeare'e kadar tiyatro her zaman ilerleyişini sürdüren insanın sahneye düşen bir gölgesi olmuştur. Bu süreçte değişen tiyatro anlayışı değil; insana ulaşma tarzıdır. Bu anlamda bünyesinde toplumun derinine nüfus edebilmeyi başarabilmiş bir yapılanma gücüne sahip olan tiyatro, gelişen toplumun dinamiklerine paralel şekilde varlığını sürdürmüştür. Tiyatro için değişim, insan kendi devamlılığını sürdürdüğü sürece kaçınılmazdır. Sürekli bir devinim halinde olan tiyatro izleyici ve oyuncu arasında etkileşime olanak tanır. Bu etkileşimin boyutu çok yönlü olmakla beraber, en yaygın olarak bilinenlerden biri hiç şüphesiz Freud'un insan bilincinde ve bilhassa bilinçaltında yer edinen birtakım durumların, onların gündelik yaşamlarında büyük role sahip olduğu görüşüne dayanan psikanaliz kavramının oyun karakterlerine yansımasıdır. Bu değişim ve etkileşimi en belirgin şekilde geleneksel tiyatro anlayışından öteye geçerek, müzik ve bol görsellik ağırlıklı post-dramatik unsurları ele alarak eserlerine yansıtan Simon Stephens çağdaş İngiliz tiyatrosunun son yıllarda yetiştirdiği önemli oyun yazarlarından biri olarak göze çarpar. Sinema sahnesini andıran düzlemde kaleme aldığı Bluebird (1998) oyunu, Stephens'ın kendisinin de kişişel olarak deneyimlediği ve gözlemlediği, gelişen ve küreselleşen dünyanın kıskacında yaşama tutunmaya çabalayan postmodern bireylerin yaşamlarından kesitler sunar. Yazar, Bluebird oyunu ile günümüz bireylerinin psikolojik bozukluklarını Freud'un bilinçaltı kavramı çerçevesinde izleyiciye yansıtmaya çalışır. Bu çalışma Stephens'ın Bluebird oyunundaki karakterleri Sigmund Freud'un kişilik kuramları bağlamında ele almaktır.

PSYCHOLOGICAL PLANE: SIGMUND FREUD’S SUBCONSCIOUS MIND IN SIMON STEPHENS’S “BLUEBIRD”

From the rituals demonstrated with masks and nature-inspired costumes to epitomise supernatural beings to a church-based dramatization in the Early Middle Ages focusingsolely on commemoration of Christ with a theatrical rite on Easter, or even to Shakespeare,where characters in disguise fill the scene at a time when Elizabethan notion of visceralforce was replaced by intrigue, theatre has always been the shadow of a changing society.What, in fact, goes under a change is not the notion of theatre per se, but the idea of relatingto people from all walks of life. In this sense, theatre, which has a structuring power thathas managed to infiltrate deeply within the society, has sustained its existence in parallelwith the developing and shifting social dynamics. For theatre, change is bound to happenif one retains his/her permanency. Theatre, which is in a continuous motion, allowsinteraction between the audience and the actor. Though the dimension of this interaction ismultifaceted, one of the most broadly known is indubitably the refiection of Freud'sconcept of psychoanalysis on the characters of the play, which is based on the view thatcertain situations that take place in human consciousness and especially in thesubconscious have a great role in their daily lives. Simon Stephens, who refiects thischange and interaction to his works by going beyond the traditional understanding oftheatre and by including the post-dramatic elements with music and abundant visuality,stands out as one of the important playwrights of contemporary British theatre in recentyears. The play Bluebird (1998), which he wrote on a level reminiscent of the cinema scene,presents sections from the lives of postmodern individuals who are struggling to hold on tolife in the grip of the developing and globalizing world, which Stephens himself personallyexperienced and observed. The author tries to refiect the psychological disorders oftoday's individuals and Freud's subconscious concept to the audience with his playBluebird. This study deals with the characters in Stephens' Bluebird within the context ofSigmund Freud's personality theories.

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