KAY ADSHEAD’İN THE BOGUS WOMAN (2001) ESERİNİN TRANSNASYONEL FEMİNİZM BAḠLAMINDA ÇÖZÜMLEMESİ

Kay Adshead’in, mülteci Afrika’lı ana karakterinin yaşadığı olaylar vasıtasıyla sığınmacılara uygulanan insanlık dışı muameleyi ve Britanya gözalti merkezlerinde yaşanan insan hakları ihlalini canlandıran The Bogus Woman (2001) oyunu bugüne kadar mülteci tiyatrosu ve feminizm (2003’te Elaine Aston tarafından), travma tiyatrosu ve travma teorisi (2012’de Hildegard Klein tarafından) ve kültürel teori bağlamında (2013’te Sarah Gibson tarafından) incelenmiştir. Tüm bu çalışmalarda oyunun incelemesi, Adshead’in oyunu ile aynı yılda, 2001’de sahnelenen ve ‘kardeş oyun’ olarak tanımlanan, ve yine transnasyonel (uluslarötesi) bir dünyada siyasi ilticanın tahammül edilmez zorluklarını anlatan, Timberlake Wertenbaker’ın eseri Credible Witness (2001) ile birlikte yapılagelmiştir. İnceleme boyunca sadece The Bogus Woman üzerine yoğunlaşacak olan bu çalışmanın amacı, oyunu transnasyonel feminizm baḡlamında irdelemek ve insan hakları meselesinin bu feminist yaklaşımda nasıl tartışıldığını ele almak olacaktır.

A TRANSNATIONAL FEMINIST ANALYSIS OF KAY ADSHEAD’S THE BOGUS WOMAN (2001)

Kay Adshead’s The Bogus Woman (2001), which dramatises through the experiences of its asylum-seeking African protagonist the inhumane treatment of asylum-seekers and the violation of human rights at the detention centres in Britain, has so far been analysed within the frame of asylum theatre and feminism (by Elaine Aston in 2003), trauma drama and trauma theory (by Hildegard Klein in 2012) and from the perspective of cultural theory (by Sarah Gibson in 2013). In all these works, the analysis of the play has been conducted together with its so-called ‘companion piece’, Credible Witness (2001) by Timberlake Wertenbaker, which, too, dramatises the atrocities of political asylum in a transnational world and has been staged in the same year as Adshead’s play, in 2001. The aim of this paper, which will focus its attention solely on The Bogus Woman, will be to analyse the play from a transnational feminist perspective and to present how the issue of human rights is discussed within this feminist position.

Keywords:

Kay Adshead, Human rights, First World women, Third World women Transnational feminism,

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