APOCALYPSIS CUM FIGURIS OR CONTINUITY OF HISTORY

Denizhan Ülgen Deniz

Makale detayları

APOCALYPSIS CUM FIGURIS OR CONTINUITY OF HISTORY

Yazarlar:

Denizhan Ülgen Deniz

Yayıncı:

Hacettepe University

Ana Başlıklar:

Tiyatro Kuramı

Dergi:

Sahne ve Müzik Vol.10 Issue 18, pp.62-79

Belge Tipi:

Makale

Yayın Tarihi:

1/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001309809

pISSN:

2149-7079

Anahtar kelimeler:

Özet:

 This essay delves into the interpretation of the text taken by the theater director Jerzy Grotowski and his ensemble, Laboratory Theatre, in their staging of Apocalypsis cum figuris. Grotowski asserts that theater is essentially an encounter. Encounter is deeply embedded with the structure of theater itself. Moreover, it can be considered as a realm wherein theater texts are tested through real life. Accordingly, Apocalypsis cum figuris can be considered as an encounter between fictional reality of the Gospels and lived reality. This essay conceives encounter as continuity of history. The concept of continuity of history that I posit in this essay is explained as relying on Alain Badious text, Theses on Theater, wherein he explores how a fictional reality can be authentically presented on a stage without straying significantly from the original text. Exploring the production of Apocalypsis cum figuris and benefiting Badious first, fourth and fifth thesis on theater, this essay tries to expose what is art of theater about, when it goes beyond pure fiction.

 This essay delves into the interpretation of the text taken by the theater director Jerzy Grotowski and his ensemble, Laboratory Theatre, in their staging of Apocalypsis cum figuris. Grotowski asserts that theater is essentially an encounter. Encounter is deeply embedded with the structure of theater itself. Moreover, it can be considered as a realm wherein theater texts are tested through real life. Accordingly, Apocalypsis cum figuris can be considered as an encounter between fictional reality of the Gospels and lived reality. This essay conceives encounter as continuity of history. The concept of continuity of history that I posit in this essay is explained as relying on Alain Badious text, Theses on Theater, wherein he explores how a fictional reality can be authentically presented on a stage without straying significantly from the original text. Exploring the production of Apocalypsis cum figuris and benefiting Badious first, fourth and fifth thesis on theater, this essay tries to expose what is art of theater about, when it goes beyond pure fiction.

 This essay delves into the interpretation of the text taken by the theater director Jerzy Grotowski and his ensemble, Laboratory Theatre, in their staging of Apocalypsis cum figuris. Grotowski asserts that theater is essentially an encounter. Encounter is deeply embedded with the structure of theater itself. Moreover, it can be considered as a realm wherein theater texts are tested through real life. Accordingly, Apocalypsis cum figuris can be considered as an encounter between fictional reality of the Gospels and lived reality. This essay conceives encounter as continuity of history. The concept of continuity of history that I posit in this essay is explained as relying on Alain Badious text, Theses on Theater, wherein he explores how a fictional reality can be authentically presented on a stage without straying significantly from the original text. Exploring the production of Apocalypsis cum figuris and benefiting Badious first, fourth and fifth thesis on theater, this essay tries to expose what is art of theater about, when it goes beyond pure fiction.

 Bu yazı, yönetmen Jerzy Grotowski ve ekibinden oluşan Tiyatro Laboratuvarının, Apocalypsis cum figuris isimli prodüksiyonda metinle kurduğu ilişkiyi incelemektedir. Grotowskiye göre tiyatro bir karşılaşmadır. Karşılaşma, tiyatro sanatının yapısıyla ilgili olduğu kadar, ele alınan metni, yaşanan gerçeklikte sınama arzusunun da bir uzantısıdır. Buna göre Apocalypsis cum figuris, Dört İncildeki gerçeklikle, yaşanan gerçeklik arasında bir karşılaşmadır. Bu yazı, bu karşılaşmayı tarihin devamı olarak görür. Bu yazıya ait bir tanımlama olan tarihin devamı kavramı, yazar Alain Badiounun, içinde, bir metindeki gerçekliğin sahnede mutlak manada nasıl karşılanabileceğini tartıştığı, Tiyatro Üzerine Tezler başlıklı metinden yola çıkarak açıklanır. Sonuç olarak, bu yazı, Badiounun tiyatro üzerine birinci, dördüncü ve beşinci tezlerinden faydalanarak ve Apocalypsis cum figuris prodüksiyonunu inceleyerek, tiyatro bir kurmacadan ibaret olmadığında, tiyatro sanatının neyle ilgili olmaya başladığına temas etmeye çalışmaktadır.

Makale detayları

APOCALYPSIS CUM FIGURIS OR CONTINUITY OF HISTORY

Yazarlar:

Denizhan Ülgen Deniz

Yayıncı:

Hacettepe University

Ana Başlıklar:

Tiyatro Kuramı

Dergi:

Sahne ve Müzik Vol.10 Issue 18, pp.62-79

Belge Tipi:

Makale

Yayın Tarihi:

1/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001309809

pISSN:

2149-7079

Constellation

diffusion

Apocalypsis cum figuris

encounter

continuity of historyTakımyıldız

difüzyon

Apocalypsis cum figuris

karşılaşma

tarihin devamı

Sayı

Makale detayları

Yazarlar: Denizhan Ülgen Deniz

Yayıncı: Hacettepe University

Ana Başlıklar: Tiyatro Kuramı

Dergi: Sahne ve Müzik Vol.10 Issue 18, pp.62-79

Belge Tipi: Makale

Yayın Tarihi: 1/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001309809

pISSN: 2149-7079

Sayı

Yazarlar:

Denizhan Ülgen Deniz

Yayıncı:

Hacettepe University

Ana Başlıklar:

Tiyatro Kuramı

Dergi:

Sahne ve Müzik Vol.10 Issue 18, pp.62-79

Belge Tipi:

Makale

Yayın Tarihi:

1/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001309809

pISSN:

2149-7079