The Transformation of Catharsis in In-Yer-Face Theatre in the Context of the Cultural Politics of Emotions

Berkay Erdoğan; Banu Ayten Akın

Makale detayları

The Transformation of Catharsis in In-Yer-Face Theatre in the Context of the Cultural Politics of Emotions

Yazarlar:

Berkay Erdoğan | Banu Ayten Akın

Yayıncı:

Mugla Sitki Kocman University

Ana Başlıklar:

Tiyatro Kuramı

Dergi:

Bodrum Journal of Art and Design Vol.3 Issue 2, pp.98-109

Belge Tipi:

Makale

Yayın Tarihi:

1/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001323338

pISSN:

2822-2563

Anahtar kelimeler:

Özet:

 This study is based on the thesis that emotions, which are ignored in daily life and assumed to be in conflict with logic, produce a cultural policy and that theater is immanent to this cultural policy produced by emotions. The aim of this study is to trace the phenomenon of catharsis, which is a result of Ancient Greek tragedies, in the In-Yer-Face theater trend within post-modern theatre. The subject is discussed from a sociological, political and philosophical perspective, with Spinozas approach that the body has thoughts, and emotions are the political tool of political authority. The starting point and main focus of the study is Sara Ahmeds work titled The Cultural Politics of Emotion, in which emotions are discussed not only on an individual basis but also on a socio-cultural basis. In line with this view, in the first part, the phenomenon of catharsis, which served a political purpose to protect consensus in Ancient Greece, is examined in the context of the cultural politics of emotions. In the second part, the relationship between the social and the individual is examined in In-Yer-Face Theatre, which reveals the individualistic structure of the post-modern world through the language of others, and traces whether there is a phenomenon of catharsis. This research is qualitative based on a descriptive model. In-Yer-Face Theatre facilitates the discharge and healing of anger through the disgust it evokes. Thus, while not directly aimed at the cultural politics of emotions, there is a parallel development of a cathartic effect driven by the desire to evoke emotional impact. However, due to the individualistic approach of the postmodern society, it fails to present a comprehensive political element, yet it leads to the conclusion that there exists a cathartic effect on an individual level.

 This study is based on the thesis that emotions, which are ignored in daily life and assumed to be in conflict with logic, produce a cultural policy and that theater is immanent to this cultural policy produced by emotions. The aim of this study is to trace the phenomenon of catharsis, which is a result of Ancient Greek tragedies, in the In-Yer-Face theater trend within post-modern theatre. The subject is discussed from a sociological, political and philosophical perspective, with Spinozas approach that the body has thoughts, and emotions are the political tool of political authority. The starting point and main focus of the study is Sara Ahmeds work titled The Cultural Politics of Emotion, in which emotions are discussed not only on an individual basis but also on a socio-cultural basis. In line with this view, in the first part, the phenomenon of catharsis, which served a political purpose to protect consensus in Ancient Greece, is examined in the context of the cultural politics of emotions. In the second part, the relationship between the social and the individual is examined in In-Yer-Face Theatre, which reveals the individualistic structure of the post-modern world through the language of others, and traces whether there is a phenomenon of catharsis. This research is qualitative based on a descriptive model. In-Yer-Face Theatre facilitates the discharge and healing of anger through the disgust it evokes. Thus, while not directly aimed at the cultural politics of emotions, there is a parallel development of a cathartic effect driven by the desire to evoke emotional impact. However, due to the individualistic approach of the postmodern society, it fails to present a comprehensive political element, yet it leads to the conclusion that there exists a cathartic effect on an individual level.

 This study is based on the thesis that emotions, which are ignored in daily life and assumed to be in conflict with logic, produce a cultural policy and that theater is immanent to this cultural policy produced by emotions. The aim of this study is to trace the phenomenon of catharsis, which is a result of Ancient Greek tragedies, in the In-Yer-Face theater trend within post-modern theatre. The subject is discussed from a sociological, political and philosophical perspective, with Spinozas approach that the body has thoughts, and emotions are the political tool of political authority. The starting point and main focus of the study is Sara Ahmeds work titled The Cultural Politics of Emotion, in which emotions are discussed not only on an individual basis but also on a socio-cultural basis. In line with this view, in the first part, the phenomenon of catharsis, which served a political purpose to protect consensus in Ancient Greece, is examined in the context of the cultural politics of emotions. In the second part, the relationship between the social and the individual is examined in In-Yer-Face Theatre, which reveals the individualistic structure of the post-modern world through the language of others, and traces whether there is a phenomenon of catharsis. This research is qualitative based on a descriptive model. In-Yer-Face Theatre facilitates the discharge and healing of anger through the disgust it evokes. Thus, while not directly aimed at the cultural politics of emotions, there is a parallel development of a cathartic effect driven by the desire to evoke emotional impact. However, due to the individualistic approach of the postmodern society, it fails to present a comprehensive political element, yet it leads to the conclusion that there exists a cathartic effect on an individual level.

 Bu çalışma; günlük hayatta göz ardı edilen ve mantık ile çatışma halinde olduğu varsayılan duyguların, kültürel bir politika ürettiği ve tiyatronun da duyguların ürettiği bu kültürel politikaya içkin olduğu savını temel alır. Bu çalışmanın amacı Antik Yunan tragedyalarının bir sonucu olan katharsis olgusunun, modern sonrası tiyatro içinde In-Yer-Face tiyatro eğilimindeki izini sürmektir. Konu, Spinozanın bedenin düşünceleri olduğu ve duyguların siyasi otoritenin politik aracı olduğu yaklaşımlarıyla sosyolojik, siyasi ve felsefi açıdan tartışılır. Çalışmanın çıkış noktası ve asal odağı Sara Ahmedin duyguların yalnızca bireysel değil toplumsal-kültürel bir zeminde ele alındığı Duyguların Kültürel Politikası adlı çalışmasıdır. Bu görüş ekseninde ilk bölümde, Antik Yunanda konsensüsü koruyucu politik bir amaca hizmet eden katharsis olgusu, duyguların kültürel politikası bağlamında incelenir. İkinci bölümde ise modern sonrası dünyanın bireyci yapısını ötekilerin diliyle ortaya koyan In-Yer-Face tiyatroda toplumsal olanın bireysel olanla ilişkisi incelenerek katharsis olgusunun olup olmadığının izleri sürülür. Bu araştırma betimsel modele dayalı nitel bir araştırmadır. In-Yer-Face tiyatro yarattığı tiksintiyle öfke boşaltılır ve sağaltılır. Böylece duyguların kültürel politikası bakımından doğrudan amaçlı olmasa bile duygusal etki uyandırma arzusu ile koşut gelişen kathartik bir etki söz konusudur. Ancak modern sonrası toplumun bireyci yaklaşımı nedeniyle bütüncül bir politik unsuru ortaya koyamasa da bireysel anlamda bir kathartik etkinin var olduğu sonucuna varılmaktadır.

Makale detayları

The Transformation of Catharsis in In-Yer-Face Theatre in the Context of the Cultural Politics of Emotions

Yazarlar:

Berkay Erdoğan | Banu Ayten Akın

Yayıncı:

Mugla Sitki Kocman University

Ana Başlıklar:

Tiyatro Kuramı

Dergi:

Bodrum Journal of Art and Design Vol.3 Issue 2, pp.98-109

Belge Tipi:

Makale

Yayın Tarihi:

1/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001323338

pISSN:

2822-2563

Emotion

Catharsis

Politics

Tragedy

In-Yer-Face TheatreDuygu

Katharsis

Politika

Tragedya

In-Yer-Face Tiyatro

Sayı

Makale detayları

Yazarlar: Berkay Erdoğan | Banu Ayten Akın

Yayıncı: Mugla Sitki Kocman University

Ana Başlıklar: Tiyatro Kuramı

Dergi: Bodrum Journal of Art and Design Vol.3 Issue 2, pp.98-109

Belge Tipi: Makale

Yayın Tarihi: 1/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001323338

pISSN: 2822-2563

Sayı

Yazarlar:

Berkay Erdoğan | Banu Ayten Akın

Yayıncı:

Mugla Sitki Kocman University

Ana Başlıklar:

Tiyatro Kuramı

Dergi:

Bodrum Journal of Art and Design Vol.3 Issue 2, pp.98-109

Belge Tipi:

Makale

Yayın Tarihi:

1/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001323338

pISSN:

2822-2563