Bu sayfa doğrulanmış
Emine Candan İRİ
produce plays in accordance with this theatre understanding, also take a fresh look at traditional Turkish theatre with the discovery of Brecht's theory. The playwrights who follow Brecht's tracks in Turkish theatre, just as he put forward his theatre approach by equipping traditional theatre forms with a contemporary quality, attempt to build a contemporary Turkish theatre in East-West synthesis, taking the spontaneous appearance of alienation in traditional Turkish theatre into consideration as well.
One of the plays, in which traditional material is fused with the data of Epic theatre, is Abdülcanbaz, which was introduced to the audience by Dostlar Theatre in the 1970s. The play, which was created based on various adventures of caricaturist Turhan Selçuk's famous comic book hero, Abdülcanbaz, as a result of a collective work with the contributions of Genco Erkal, Mehmet Akan and Macit Koper from the dramaturgy committee of Dostlar Theatre, and journalist-writer Engin Ardıç, who joined them externally, meets the audience for the first time in the theatre season of 1972-73 in İstanbul. This comic-theatre experiment, which emerged as a product of Dostlar Theatre's dream of reaching a wider audience, while making the audience laugh and entertain, also wants to make them uneasy and think by pulling them into a serious discussion environment. For this, a theatre language that the audience is familiar with is blended consciously with the method of Brecht in the play. A deceptive way is followed, which easily catches the audience, but keeps them at a certain distance to ensure that they remain in an effective-critical position, based on the alienation effect of Brecht aesthetics, which is also somewhat similar to the anti-illusionist features of traditional Turkish theatre. In fact, the alienation, which is not limited to the fiction of the play. but also provided with anti-illusion and anti-identification approaches in staging and playing technique, was evaluated only in accordance with the possibilities offered by the text in Abdülcanbaz, hence the alienation effects in the fiction of the play were rather determined and examined. It is noteworthy that various alienation effects (Verfremdungseffekt) are used in the play, from the episodic narration to the musical narration, from the projection method to the narrator, from the emphasis on the fictional nature of the play to the historical method and the unexpected end. Besides, the elements such as diversity in the language and misunderstandings that make the play look fun also play an important role in alienating the audience. These elements which destroy the unity of the sense (Einfühlung) that causes the audience to identify with the characters of the play, take them to a rational, conscious, uneasy, dissatisfied, and therefore productive level, by keeping them from useless excitement or relaxation.
Yeni Türk Edebiyatı Araştırmaları - Sayı: 23-2020 - ISSN: 2548-0472 235
