Vasıf Öngören's Zengin Mutfağı As A Sample Of Rewriting

Emine Candan İri

Makale detayları

Vasıf Öngören's Zengin Mutfağı As A Sample Of Rewriting

Yazarlar:

Emine Candan İri

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Türkiye Sahası Yeni Türk Edebiyatı

Dergi:

Söylem Filoloji Dergisi Vol.9 Issue 2, pp.714-729

Belge Tipi:

Makale

Yayın Tarihi:

8/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001325774

pISSN:

2548-0502

Anahtar kelimeler:

Özet:

 Vasıf Öngören, who is among the versatile artists of post-1960 Turkish theater as a playwright, actor, stage setter and dramaturgist is one of the strict practitioners of epic theater aesthetics in Turkey. Öngören staged some of Brechts texts A Mans A Man, Fear and Misery of the Third Reich and The Good Person of Szechwan in the 1970s. In addition, he shows commitment to Brechts aesthetics in his own literary production, four theater plays. The authors last play, Zengin Mutfağı, is at a different point in terms of its relationship with Brechts theatre. This play, which was first performed in 1977, was written with the understanding of epic theater and contains intertextual links with Brechts play Fear and Misery of the Third Reich. Öngören, who staged Brechts documentary play, consisting of a series of long and short scenes, as Fear and Misery of Fascism in 1976, fictionalized the Zengin Mutfağı, which was taking shape at that time, inspired by an episode of this play. The episode in question, called Chalk Sign and about Germany in the 1930s, was adapted by Öngören to Turkey in the 1970s and turned into a two-act play. Zengin Mutfağı, which has been rewritten through expansion and therefore appears suitable for evaluation within the framework of intertextuality, is the focus of this study. In the study, first of all, some issues related to Fear and Misery of the Third Reich, which is the subtext referent or model text, will be touched upon, then the main text, Zengin Mutfağı, will be discussed and the two texts will be subjected to a comparative analysis.

 Vasıf Öngören, who is among the versatile artists of post-1960 Turkish theater as a playwright, actor, stage setter and dramaturgist is one of the strict practitioners of epic theater aesthetics in Turkey. Öngören staged some of Brechts texts A Mans A Man, Fear and Misery of the Third Reich and The Good Person of Szechwan in the 1970s. In addition, he shows commitment to Brechts aesthetics in his own literary production, four theater plays. The authors last play, Zengin Mutfağı, is at a different point in terms of its relationship with Brechts theatre. This play, which was first performed in 1977, was written with the understanding of epic theater and contains intertextual links with Brechts play Fear and Misery of the Third Reich. Öngören, who staged Brechts documentary play, consisting of a series of long and short scenes, as Fear and Misery of Fascism in 1976, fictionalized the Zengin Mutfağı, which was taking shape at that time, inspired by an episode of this play. The episode in question, called Chalk Sign and about Germany in the 1930s, was adapted by Öngören to Turkey in the 1970s and turned into a two-act play. Zengin Mutfağı, which has been rewritten through expansion and therefore appears suitable for evaluation within the framework of intertextuality, is the focus of this study. In the study, first of all, some issues related to Fear and Misery of the Third Reich, which is the subtext referent or model text, will be touched upon, then the main text, Zengin Mutfağı, will be discussed and the two texts will be subjected to a comparative analysis.

 Vasıf Öngören, who is among the versatile artists of post-1960 Turkish theater as a playwright, actor, stage setter and dramaturgist is one of the strict practitioners of epic theater aesthetics in Turkey. Öngören staged some of Brechts texts A Mans A Man, Fear and Misery of the Third Reich and The Good Person of Szechwan in the 1970s. In addition, he shows commitment to Brechts aesthetics in his own literary production, four theater plays. The authors last play, Zengin Mutfağı, is at a different point in terms of its relationship with Brechts theatre. This play, which was first performed in 1977, was written with the understanding of epic theater and contains intertextual links with Brechts play Fear and Misery of the Third Reich. Öngören, who staged Brechts documentary play, consisting of a series of long and short scenes, as Fear and Misery of Fascism in 1976, fictionalized the Zengin Mutfağı, which was taking shape at that time, inspired by an episode of this play. The episode in question, called Chalk Sign and about Germany in the 1930s, was adapted by Öngören to Turkey in the 1970s and turned into a two-act play. Zengin Mutfağı, which has been rewritten through expansion and therefore appears suitable for evaluation within the framework of intertextuality, is the focus of this study. In the study, first of all, some issues related to Fear and Misery of the Third Reich, which is the subtext referent or model text, will be touched upon, then the main text, Zengin Mutfağı, will be discussed and the two texts will be subjected to a comparative analysis.

 Oyun yazarı, oyuncu, sahneye koyucu ve dramaturg olarak 1960 sonrası Türk tiyatrosunun çok yönlü sanatçıları arasında yer alan Vasıf Öngören, epik tiyatro estetiğinin Türkiyedeki sıkı uygulayıcılarından biridir. Öngören, 1970li yıllarda Brechtin kimi oyunlarını Adam Adamdır, III. Reichın Korku ve Sefaleti, Sezuanın İyi İnsanı sahneye koyar. Ayrıca, kendi yazınsal üretimi olan dört tiyatro yapıtında da Brechtin estetiğine bağlılık gösterir. Yazarın son oyunu Zengin Mutfağı, Brecht tiyatrosuyla kurulan ilişki bakımından ayrı bir noktadadır. İlk kez 1977de sahnelenen bu oyun, epik tiyatro anlayışıyla yazılmış olmasının yanı sıra Brechtin III. Reichın Korku ve Sefaleti adlı yapıtıyla metinlerarası bağlantılar içerir. Brechtin uzunlu kısalı bir dizi sahneden oluşan belgesel oyununu 1976 yılında Faşizmin Korku ve Sefaleti olarak sahneye koyan Öngören, o sıralarda şekillenen Zengin Mutfağını bu oyunun bir epizodundan esinlenerek oluşturur. Tebeşir İşareti adını taşıyan ve 1930lar Almanyasını konu edinen söz konusu epizot, Öngören tarafından 1970ler Türkiyesine uyarlanarak iki perdelik bir oyuna dönüştürülür. Genişletme yoluyla yenidenyazılan, dolayısıyla metinlerarasılık çerçevesinde değerlendirilmeye uygun bir görünüm arz eden Zengin Mutfağı, bu çalışmanın hareket noktasını oluşturmaktadır. Çalışmada öncelikle alt metin gönderge ya da model metin durumundaki III. Reichın Korku ve Sefaletiyle ilgili kimi hususlara değinilecek, ardından ana metin Zengin Mutfağı ele alınarak iki metin karşılaştırmalı bir incelemeye tabi tutulacaktır.

Makale detayları

Vasıf Öngören's Zengin Mutfağı As A Sample Of Rewriting

Yazarlar:

Emine Candan İri

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Türkiye Sahası Yeni Türk Edebiyatı

Dergi:

Söylem Filoloji Dergisi Vol.9 Issue 2, pp.714-729

Belge Tipi:

Makale

Yayın Tarihi:

8/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001325774

pISSN:

2548-0502

intertextuality

rewriting

Bertolt Brecht

Fear and Misery of the Third Reich

Vasıf Öngören

Zengin Mutfağımetinlerarasılık

yenidenyazma

Bertolt Brecht

III. Reich'ın Korku ve Sefaleti

Vasıf Öngören

Zengin Mutfağı

Sayı

Makale detayları

Yazarlar: Emine Candan İri

Yayıncı: Yusuf ÇETİN

Ana Başlıklar: Türkiye Sahası Yeni Türk Edebiyatı

Dergi: Söylem Filoloji Dergisi Vol.9 Issue 2, pp.714-729

Belge Tipi: Makale

Yayın Tarihi: 8/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001325774

pISSN: 2548-0502

Sayı

Yazarlar:

Emine Candan İri

Yayıncı:

Yusuf ÇETİN

Ana Başlıklar:

Türkiye Sahası Yeni Türk Edebiyatı

Dergi:

Söylem Filoloji Dergisi Vol.9 Issue 2, pp.714-729

Belge Tipi:

Makale

Yayın Tarihi:

8/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001325774

pISSN:

2548-0502