Dostlar Tiyatrosu'nun Yeniden Üretimi Abdülcanbazda Yabancılaştırma
Extended Summary
The concept of alienation (Verfremdung) forms the basis of the Epic theatre theory put forward by Bertolt Brecht (1898-1956) who guided the world theatre with his author, theorist and director identities, as the theatre of the materialist dialectic since 1920's. According to Brecht's opinion, the audience of the Epic theatre, which is the theater of the scientific age, is a vigilant and conscious audience who believes in the changeability of the human and the world. Theatre of the scientific age, located opposite the traditional theatre/Aristotelian dramaturgy based on the unity of the sense (Einfühlung), wants the audience to approach the world facing all the problems waiting to be solved with a productive consciousness and a critical attitude, taking them out of a spelled area where problems are forgotten. This innovative approach that invites the audience to the critical attitude of natural sciences and social science, focuses on the alienation effect in order to be able to give up identification and illusion which makes the audience passive, and to move the audience to an effective and creative position. According to Brecht, alienation, which is a reflection of the naive attitude borrowed from science, is to equip natural objects that seem to be spontaneous with a spectacular feature, thereby losing their naturalness and becoming truly understandable. This method, which alienates the natural/ customary, moves the audience from the emotional field to the field of thought/ consciousness. In Epic theatre, various techniques used in the fiction of the play, staging, and performance of the actor in order to make the audience be deceived so that they approach the stage event as an active participant and with the attention of an expert, are defined as the alienation effect (Verfremdungseffekt), briefly as the Y-effect (V-effekt). Y-effects obtained in a variety of ways from the episodic narration to the element of narrator, from emphasis on the fictional nature of the play to the projection method, from music to the technical tools such as decor, costume, light, provide an aesthetic distance between the audience and the stage event. In this way, the audience will follow what is happening on the stage with the conscious of its fictional nature, without falling into the trap of identification or getting into the illusion, and will recognize that they, as decision makers, are confronted with an important issue of life.
This theatre model based on alienation, began to attract the attention of Turkish playwrights, in the second half of the twentieth century, especially in the 1960s-1970s, in Turkey, where there was a dynamism in the social, economic and political environment, increased interest in community problems and Turkish theatre gained a political-ideological identity. Authors such as Haldun Taner, Vasıf Öngören, Sermet Çağan, Oktay Arayıcı who sincerely adopt this theory andYeni Türk Edebiyatı Araştırmaları - Sayı: 23-2020 - ISSN: 2548-0472 234
