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dc.contributor.advisorKaya, Şebnem
dc.contributor.authorAtlar, Yağmur
dc.date.accessioned2022-07-04T08:11:04Z
dc.date.issued2022
dc.date.submitted2022-06-03
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Ed. Christel Stalpaert, Frederik Le Roy, and Sigrid Bousset. Amsterdam: Academia, 2007. 169-87. Web. Google books. 1 July 2020. Henke, Christoph. “Precarious Virtuality in Participatory Theatre: Tim Crouch’s The Author.” Of Precariousness: Vulnerabilities, Responsibilities, Communities in 21st-Century British Drama and Theatre. Ed. Mireia Aragay and Martin Middeke. Berlin: De Gruyter, 2017. 77-90. ProQuest Ebook Central. Web. 23 Feb. 2021. Iball, Helen. “A Mouth to Feed Me: Reflections Inspired by the Poster for Tim Crouch’s The Author.” Contemporary Theatre 21.4 (2011): 431-44. TaylorandFrancis. Web. 1 May 2022. İlter, Seda. “‘A Process of Transformation’: Tim Crouch on My Arm.” Contemporary Theatre Review 21.4 (2011): 394-404. TaylorandFrancis. Web. 1 July 2020. Jürs-Munby, Karen. Introduction. Postdramatic Theatre. By Hans-Thies Lehmann. Abingdon, Oxon: Routledge, 2006. 1-15. Print. 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dc.identifier.urihttp://hdl.handle.net/11655/26465
dc.description.abstractIn the twenty-first century British contemporary and in particular postdramatic theatre, the increasing centralisation of the audience and the spectators’ active participation emerge as controversial subject matters. Tim Crouch (1964- ) is one of the most prominent playwrights of British contemporary theatre with the techniques he employs in his plays to stimulate the audience’s intellectual engagement. Crouch stands out with his novel approach to the notion of spectatorship; while granting authority to his audience as autonomous components, he also demarcates the line between stage and the auditorium. The writer frequently confines his audience within the auditorium and employs spatial limitations to liberate the audience. Such constraints allow Crouch to create an equal co-authorship dynamic between the author, the performers, and the audience on his stage. By analysing his plays, namely My Arm (2003), An Oak Tree (2005), and ENGLAND (2007), this thesis aims to explore how Crouch creates an equalised and active participatory space that prioritises the action taking place in the audience’s mind. The introduction of the thesis focuses on various theories and practises that illuminate Crouch’s understanding of theatre. The first chapter focuses on the concept of representation in My Arm by analysing the writer’s use of objects collected from the audience as a means of enhancing contemplation in the auditorium. The second chapter, deals with the phenomenon of transformation in An Oak Tree in which Crouch urges the audience to make a mental contribution through “self-hypnosis” by means of a demonstration of hypnosis on stage. The third and final chapter analyses how ENGLAND focuses on the translation between what the author says and what the audience creates in a gallery environment, which brings spatial dynamics to the forefront. Thus, the thesis concludes that by prioritising the audience’s autonomous perception in his plays, Crouch encourages the spectators to transform into co-creators and authors of their own stories.tr_TR
dc.language.isoentr_TR
dc.publisherSosyal Bilimler Enstitüsütr_TR
dc.rightsinfo:eu-repo/semantics/openAccesstr_TR
dc.subjectAuthoritytr_TR
dc.subjectTim crouchtr_TR
dc.subjectAudiencetr_TR
dc.subjectENGLANDtr_TR
dc.subjectMy armtr_TR
dc.subjectAn oak treetr_TR
dc.subjectTheatretr_TR
dc.titleThe Problematised Concept of Author-ity in Tim Crouch's My Arm, An Oak Tree and ENGLANDtr_en
dc.typeinfo:eu-repo/semantics/masterThesistr_TR
dc.description.ozetYirmi birinci yüzyıl İngiliz çağdaş ve özellikle postdramatik tiyatrosunda seyircinin giderek artan şekilde merkeze konulması ve sahnede aktif olarak rol alması tartışmalı konular olarak ortaya çıkar. Tim Crouch (1964- ), seyircinin entelektüel katılımını teşvik etmek için oyunlarında kullandığı teknikler açısından çağdaş İngiliz tiyatrosunun en önde gelen oyun yazarlarından biridir. Crouch, seyircisine özerk katılımcılar olarak yetki verirken sahne ile oditoryum arasındaki sınırları belirleyerek seyirci kavramına özgün yaklaşımıyla öne çıkar. Yazar, izleyicilerinin çoğunlukla oditoryumda kalmasını sağlar ve onları özgürleştirmek için mekânsal sınırlamalar kullanır. Bu tür kısıtlamalar Crouch’un yazar, oyuncular ve seyirciler arasında eşit bir ortak yazarlık dinamiği yaratmasına izin verir. Bu tez, My Arm (2003, Kolum), An Oak Tree (2005, Bir Meşe Ağacı) ve ENGLAND (2007, İNGİLTERE) başlıklı oyunlarını analiz ederek Crouch’un seyircinin aklında gerçekleşen eylemi ön plana çıkaran eşit ve katılımcı bir alanı nasıl yarattığı konusunu incelemeyi amaçlar. Tezin giriş bölümü, Crouch’un tiyatro anlayışına ışık tutan çeşitli teori ve uygulamalara odaklanmaktadır. İlk bölüm, My Arm’daki temsil kavramına odaklanarak yazarın seyircilerden topladığı nesneleri oditoryumda gerçekleşen derin düşünceyi artırmanın bir yolu olarak kullanmasını konu alır. İkinci bölümde, yazarın An Oak Tree’de dönüşüm olgusunu ele alış şekli ve sahnedeki bir hipnoz gösterisi üzerinden “öz-hipnoz” yoluyla seyirciyi zihinsel katkı sağlamaya teşvik edişi yer alır. Üçüncü ve son bölümde ise ENGLAND başlıklı oyununda mekânsal dinamikleri ön plana çıkaran bir galeri ortamında yazarın söyledikleri ile izleyicinin yarattığı arasındaki çeviriye nasıl odaklandığı incelenir. Bunlardan hareketle tezin sonuç kısmında Crouch’un oyunlarında özerk algılarını ön planda tutmak suretiyle seyircileri oyunların ortak yaratıcılarına ve kendi hikâyelerinin yazarlarına dönüşmeye teşvik ettiği vurgulanır.tr_TR
dc.contributor.departmentİngiliz Dili ve Edebiyatıtr_TR
dc.embargo.termsAcik erisimtr_TR
dc.embargo.lift2022-07-04T08:11:04Z
dc.fundingYoktr_TR


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