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GENÇ SEYİRCİLER İÇİN SHAKESPEARE’E YENİDEN BİR BAKIŞ: TIM CROUCH’UN SHAKESPEARE UYARLAMALARI

Year 2022, Volume: 1 Issue: 68, 9 - 16, 26.06.2022
https://doi.org/10.5152/AUJAF.2022.942247

Abstract

Bir edim ya da bir süreç olarak ‘uyarlama’ farklı disiplinler içerisinde kullanılmış ve uyarlamanın zamanı, ait olduğu toplum ve uyarlayanın amacıyla ilintili olarak belirli hedefleri gerçekleştirerek edebiyat ve tiyatroda da uygulanmıştır. Doğru/esas uyarmanın niteliği üzerine fikir birliği olmamasına rağmen, edebiyat eleştirmeni Profesör Linda Hutcheon 2006 yılını takiben adaptasyon teorisinin sınırlarının genişletildiğini ve bu teoriye yeni bakış açıları getirildiğini ortaya koymuştur. Çağdaş İngiliz oyun yazarı Tim Crouch tarafından kaleme alınan ve bu çalışmada yer verilen Shakespeare uyarlamaları seçili oyunlar, kimi durumlarda uyarlama eserler orijinal metne hem yakın bir benzerlik hem de farklılık arz edebileceğini göstermiştir. Üst sınıfa ait insanlar üzerine anlatıların sunulduğu Shakespeare oyunları, bu oyunlarda yer alan göz ardı edilmiş ikincil karakterlere vurgu yapılarak Crouch’un oyunlarında yeniden anlatılır ve yeniden canlandırılır. İnsan oğlunun doğasına, istek ve dürtülerinin sınırlarına değinerek Crouch görünür olmayan Shakespeare karakterlerini çağdaş sahneye genç seyircilerinin gözü önüne taşır. Bu çalışmada, Crouch’un Shakespeare oyunlarından uyarlanmış olan oyunlarının yeniden yaratım aşaması oyun yazarının muhatap olarak genç seyircileri seçmesi ve oyunlarını icra ederken yeni çağdaş tiyatral teknikler kullanma eğilimi dikkate alınarak açığa çıkarılacaktır.

References

  • Babbage, F. (2018). Adaptation in Contemporary Theatre: Performing Literature, London: Methuen Drama.
  • Bristol OldVic, Company of Angels, Accessed Date: 20.02.2020. www.fairymonsterghost.co.uk.
  • Cambridge English Dictionary, Accessed Date: 15.05.2020. https://dictionary.cambridge.org/dictionary/english/adaptation
  • Cooper, H. (2010). Shakespeare and the Medieval World. London and New York: Arden Shakespeare.
  • Crouch, Tim. (2011/1). I Shakespeare (int. John Retallack), London: Oberon Modern Playwrights.
  • Crouch, Tim. (2011/2). “I, Malvolio: bringing Shakespeare to life for young audiences” William Shakespeare, The Guardian.
  • Crouch, Tim. "I Malvolio". Accessed Date: 20.02.2020. https://www.britishcouncil.cn/en/programmes/arts/upcoming-arts-activities/IMalvolio.
  • Fisher, Mark. (2011). “Tim Crouch Interview about I”, Malvolio, Mark Fisher’s Scottish Theatre Blog. Accessed Date: 07. 06.2020. http://scottishtheatre.blogspot.com/2011/09/tim-crouch-interview-about-i-malvolio.html.
  • Greenblatt, Stephen. "Shakespearean Tragedy", The Norton Shakespeare William, W.W. Norton, New York 2008.
  • Hutcheon, Linda., O’Flynn, Siobhan. (2013). A theory of Adaptation, London and NewYork: Routledge. Innes, Christopher. (1993). Avant Garde Theatre 1892-1992, London: Routledge.
  • Fairymonsterghost, “I, Peaseblossom: Education & Activity Pack, Bristol Old Vic Studio", Company of Angels. (accessed date: 20.02.2020). www.fairymonsterghost.co.uk
  • Fairymonsterghost, “I, Caliban: Some Notes from the Playwright”, (accessed date: 20.02.2020). http://www.fairymonsterghost.co.uk/ghost.html
  • Fairymonsterghost, “I, Caliban: some notes from the playwright”, (accessed date: 20.02.2020). http://www.fairymonsterghost.co.uk/ghost.html
  • Kristeva. Julia. (1986). “Word, Dialog and Novel”, The Kristeva Reader. Toril Moi (Ed.). New York: Columbia University Press, (34-61).
  • Leech, Clifford. (1963). “The Implications of Tragedy”, Shakespeare’s Tragedies; An Anthology of Modern Criticism, Laurence Lerner (Ed.). U.K.: Penguin Shakespeare Library.
  • Patrick, Healy. (2013). “Twelfth Night’ Twit Gets a Turn in the Spotlight”. Tim Crouch on ‘I, Malvolio,’ His One-Man Show at the Duke - The New York Times. (accessed date: 17.10.2020)
  • https://www.nytimes.com/2013/01/12/theater/Tim Crouch on ‘I, Malvolio,’ His One-Man Show at the duke.html - The New York Times (nytimes.com)
  • Hales, Sally. (2010). "I, Cinna (The Poet) Review at Unicorn Theatre, London – ‘a Fascinating Feat of Storytelling’". (accessed date: 15.04.2020) https://www.thestage.co.uk/reviews/2020/i-cinna-review-at-unicorn-theatre-london/
  • Silverstone, Catherine. (2011). Shakespeare, Trauma and Contemporary Performance, London and New York: Taylor&Francis Group.
  • Soncini, Sara. (2017). “This is you: Encountering Shakespeare with Tim Crouch, Essays; Will forever young!”, Shakespeare & Contemporary Culture,11/2017, Other Modernities, Universita Degli Studi di Milano. (accessed date: 10.11.2020). https://riviste.unimi.it/index.php/AMonline/article/view/9175, 27.
  • Steiner, George. (2013). Death of Tragedy, New York: Open Road Integrated Media.
  • The Norton Anthology, English Literature. (2005). New York: W.W Norton & Company, Vol 6.
  • Unicorn Theatre, Beginners Teacher Resource Pack for Teachers Working with Pupils In Year 4 And Up Beginners, Where Did The Idea Originate?. (accessed date: 23.11.2020). https://www.unicorntheatre.com/files/1BEGINNERS%20teacher%20resources%20(FINAL).pdf.

REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS

Year 2022, Volume: 1 Issue: 68, 9 - 16, 26.06.2022
https://doi.org/10.5152/AUJAF.2022.942247

Abstract

Adaptation as an act or process has been used in different disciplines and it has applied in literature and theatre for years achieving certain goal regarding to its time and its society and its adapter’s purpose. Although there is no consensus about the essence of the true adaptation, literary critic Professor Linda Hutcheon suggests that following the time of 2006 broader point of views for adaptation theory have been brought by enlarging its borders. The chosen adaptation plays from Shakespeare in this study which have penned by contemporary British playwright Tim Crouch establish that adapted works can be both closely similar and different from the original text in certain cases. Shakespeare’s plays in which the narratives on the upper echelon were unfolded are retold and reperformed in Crouch’s plays by placing the emphasis on the ignored secondary characters of the plays. Touching the nature of human beings, limits of their wishes and drives, Crouch carries these invisible Shakespearean characters on contemporary stage in front of young audiences. In this study, the recreation process of Crouch’s plays which are adapted from Shakespeare’s plays will be revealed considering his young audience as his addressee and his inclination to use new contemporary theatrical techniques while performing his plays.

References

  • Babbage, F. (2018). Adaptation in Contemporary Theatre: Performing Literature, London: Methuen Drama.
  • Bristol OldVic, Company of Angels, Accessed Date: 20.02.2020. www.fairymonsterghost.co.uk.
  • Cambridge English Dictionary, Accessed Date: 15.05.2020. https://dictionary.cambridge.org/dictionary/english/adaptation
  • Cooper, H. (2010). Shakespeare and the Medieval World. London and New York: Arden Shakespeare.
  • Crouch, Tim. (2011/1). I Shakespeare (int. John Retallack), London: Oberon Modern Playwrights.
  • Crouch, Tim. (2011/2). “I, Malvolio: bringing Shakespeare to life for young audiences” William Shakespeare, The Guardian.
  • Crouch, Tim. "I Malvolio". Accessed Date: 20.02.2020. https://www.britishcouncil.cn/en/programmes/arts/upcoming-arts-activities/IMalvolio.
  • Fisher, Mark. (2011). “Tim Crouch Interview about I”, Malvolio, Mark Fisher’s Scottish Theatre Blog. Accessed Date: 07. 06.2020. http://scottishtheatre.blogspot.com/2011/09/tim-crouch-interview-about-i-malvolio.html.
  • Greenblatt, Stephen. "Shakespearean Tragedy", The Norton Shakespeare William, W.W. Norton, New York 2008.
  • Hutcheon, Linda., O’Flynn, Siobhan. (2013). A theory of Adaptation, London and NewYork: Routledge. Innes, Christopher. (1993). Avant Garde Theatre 1892-1992, London: Routledge.
  • Fairymonsterghost, “I, Peaseblossom: Education & Activity Pack, Bristol Old Vic Studio", Company of Angels. (accessed date: 20.02.2020). www.fairymonsterghost.co.uk
  • Fairymonsterghost, “I, Caliban: Some Notes from the Playwright”, (accessed date: 20.02.2020). http://www.fairymonsterghost.co.uk/ghost.html
  • Fairymonsterghost, “I, Caliban: some notes from the playwright”, (accessed date: 20.02.2020). http://www.fairymonsterghost.co.uk/ghost.html
  • Kristeva. Julia. (1986). “Word, Dialog and Novel”, The Kristeva Reader. Toril Moi (Ed.). New York: Columbia University Press, (34-61).
  • Leech, Clifford. (1963). “The Implications of Tragedy”, Shakespeare’s Tragedies; An Anthology of Modern Criticism, Laurence Lerner (Ed.). U.K.: Penguin Shakespeare Library.
  • Patrick, Healy. (2013). “Twelfth Night’ Twit Gets a Turn in the Spotlight”. Tim Crouch on ‘I, Malvolio,’ His One-Man Show at the Duke - The New York Times. (accessed date: 17.10.2020)
  • https://www.nytimes.com/2013/01/12/theater/Tim Crouch on ‘I, Malvolio,’ His One-Man Show at the duke.html - The New York Times (nytimes.com)
  • Hales, Sally. (2010). "I, Cinna (The Poet) Review at Unicorn Theatre, London – ‘a Fascinating Feat of Storytelling’". (accessed date: 15.04.2020) https://www.thestage.co.uk/reviews/2020/i-cinna-review-at-unicorn-theatre-london/
  • Silverstone, Catherine. (2011). Shakespeare, Trauma and Contemporary Performance, London and New York: Taylor&Francis Group.
  • Soncini, Sara. (2017). “This is you: Encountering Shakespeare with Tim Crouch, Essays; Will forever young!”, Shakespeare & Contemporary Culture,11/2017, Other Modernities, Universita Degli Studi di Milano. (accessed date: 10.11.2020). https://riviste.unimi.it/index.php/AMonline/article/view/9175, 27.
  • Steiner, George. (2013). Death of Tragedy, New York: Open Road Integrated Media.
  • The Norton Anthology, English Literature. (2005). New York: W.W Norton & Company, Vol 6.
  • Unicorn Theatre, Beginners Teacher Resource Pack for Teachers Working with Pupils In Year 4 And Up Beginners, Where Did The Idea Originate?. (accessed date: 23.11.2020). https://www.unicorntheatre.com/files/1BEGINNERS%20teacher%20resources%20(FINAL).pdf.
There are 23 citations in total.

Details

Primary Language English
Subjects Creative Arts and Writing
Journal Section DİL VE EDEBİYAT
Authors

Kadriye Bozkurt 0000-0001-5219-5629

Publication Date June 26, 2022
Submission Date May 24, 2021
Published in Issue Year 2022 Volume: 1 Issue: 68

Cite

APA Bozkurt, K. (2022). REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS. Atatürk Üniversitesi Edebiyat Fakültesi Dergisi, 1(68), 9-16. https://doi.org/10.5152/AUJAF.2022.942247
AMA Bozkurt K. REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS. AUEDFD. June 2022;1(68):9-16. doi:10.5152/AUJAF.2022.942247
Chicago Bozkurt, Kadriye. “REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS”. Atatürk Üniversitesi Edebiyat Fakültesi Dergisi 1, no. 68 (June 2022): 9-16. https://doi.org/10.5152/AUJAF.2022.942247.
EndNote Bozkurt K (June 1, 2022) REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS. Atatürk Üniversitesi Edebiyat Fakültesi Dergisi 1 68 9–16.
IEEE K. Bozkurt, “REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS”, AUEDFD, vol. 1, no. 68, pp. 9–16, 2022, doi: 10.5152/AUJAF.2022.942247.
ISNAD Bozkurt, Kadriye. “REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS”. Atatürk Üniversitesi Edebiyat Fakültesi Dergisi 1/68 (June 2022), 9-16. https://doi.org/10.5152/AUJAF.2022.942247.
JAMA Bozkurt K. REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS. AUEDFD. 2022;1:9–16.
MLA Bozkurt, Kadriye. “REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS”. Atatürk Üniversitesi Edebiyat Fakültesi Dergisi, vol. 1, no. 68, 2022, pp. 9-16, doi:10.5152/AUJAF.2022.942247.
Vancouver Bozkurt K. REVISITING SHAKESPEARE FOR YOUNG AUDIENCES: TIM CROUCH’S SHAKESPEARE ADAPTATION PLAYS. AUEDFD. 2022;1(68):9-16.