THE CHANGIN PERCEPTION OF CONTEMPORARY BRITISH THEATRE AESTHETIC AND MARK RAVENHILL

Bu çalışma Sarah Kane'in 1990'ların başında Royal Court sahnesinde görünmesinden sonra ortaya çıkan çağdaş tiyatro algısına yön veren birçok iniş çıkışlara sahne oları Britanya tiyatrosunun son yıllardaki en önemli sıçramalarından biri olan suratına tiyatro ve onun en önemli temsilcilerinden biri oları Mark Ravenhill'i tüm açıklığıyla incelemeyi amaçlamaktadır. Bu çalışma Britanya tiyatrosunda yerıi bir tiyatro algısını ortaya çıkaran Look Back in Anger oyunundan beri meydana gelen tarihsel gelişmelerle ilgili bilgiler verildikten sonra, oyunlarında yamyamlık, depresyon, yabancılaşma, tüketim toplumu, cinsellik gıbi öğeleri barındıran kötü doksarılar diye de anılan suratına tiyatronun öne çıkarı oyun yararlarından Mark Ravenhill' 1n dönem üzerine katkısına odaklanmıştı

ÇAĞDAŞ İNGİLİZ TİYATROSU ESTETİĞİNİN DEĞİŞEN ALGISI VE MARK RAVENHILL

This study aims to scrutinize the l990’s British theatre aesthetic and in-yer-face theatre which experienced many fluctuations that determine the movement of current theatre tendency. In-yer-face theatre was initiated in the early 1990s by appearing Sarah Kane on Royal Court. In this study, it is put forward the historical background of the British theatre from Look Back in Anger (1956) that revealed new theatre aesthetic in that term. After the background information about in-yer-face theatre, it mainly focuses on Mark Ravenhill who is one of the most prominent figures of British Theatre inl990’s which is called nasty nineties that includes in violence, scenes of rape, cannibalism, depression, alienation, consumerist culture, and sexuality on stage

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