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Simon Stephens’in Motortown Oyununda Travma Tanıklığı

Year 2018, Issue: 40, 129 - 138, 24.12.2018
https://doi.org/10.21497/sefad.515053

Abstract

Şöhreti hem İngiltere’ye hem de Avrupa’ya yayılan, en önemli çağdaş oyun
yazarlarından biri olan Simon Stephens 2006 yılında Motortown oyununu yazar. Oyun, birbirleriyle yapısal bağlantısı ve
bütünlüğü olan ve her bir sahnede korku, şiddet, endişe ve travma kavramlarını
betimleyen, sekiz sahneden oluşur. Oyunun kahramanı Danny, askerlik için Irak’a
gönderilen ve travmatik deneyim ve anılarla eve dönen, bir İngiliz askeridir.
Simon Stephens, sadece askerliği başaramamış bir şekilde eve dönen ve fiziksel
ve ruhsal acıları açığa vuran evreleri değil, aynı zamanda Irak savaşının hayal
kırıklığına uğratan sonuçlarının çağdaş İngiliz toplumu üzerindeki psikolojik
yıkımı ve aile desteğinin de olmamasıyla gözlemlenen travma faktörlerini ve
travmatik davranışları ele alan politik bir oyun tasvir eder. Bu çalışma,
travma teorisini ve savaşın etkilerini analiz ederek, Danny’nin travmatik
özgeçmişini ve çağdaş İngiliz kültüründe ki diğer karakterlerde de temel sorun
olan Danny’nin travmatik döngülerini açıklayacaktır.

References

  • Ansdel, Caroline (2006). “Musings on Mays and Motortown” In Whats On Stage. http://www.whatsonstage.com/dl/page.php?page=greenroom&story=E8821145961557. [Accessed 18 January 2018].
  • Avishai, Margalit (2004). The Ethics of Memory. Cambridge, MA: Harvard University Press.
  • Buse, Peter (2001). Drama+Theory Critical Approaches to Modern British Drama. Manchester: Manchester University Press.
  • Caruth, Cathy (1996). Unclaimed Experience: Trauma, Narrative and History. Baltimore, MA and London: Johns Hopkins University Press.
  • Edkins, Jenny (2003). Trauma and Memory of Politics. Cambridge: Cambridge University Press.
  • Freud, Sigmund (1961). Beyond the Pleasure Principle. New York: W.W. Norton.
  • Gardner, Lyn (2006). “Review of Motortown, Royal Court London Stage” The Guardian. https://www.theguardian.com/stage/2006/apr/25/theatre. [Accessed 6 February 2018]
  • Herman, L.Judith (1992). Trauma and recovery. New York: Basic Books.
  • Innes, Christopher (2011). “Simon Stephens” In The Methuen drama guide to Contemporary British playwrights. eds. Martin Middeke - Peter Paul Schnierer. London: Methuen Drama. 445-465.
  • Jeffery, Simon (2003). “UK’s biggest peace rally” The Guardian. https://www.theguardian.com/uk/2003/feb/15/politics.politicalnews. [Accessed 09 March 2018].
  • Marder, Elisa (2006). “Trauma and literary studies: Some enabling questions” Reading on: Trauma, memory and testimony. 1 (1), 1-6. Retrieved from http://readingon.library.emory.edu/issue1/iss1toc.htm. [Accessed 09 March 2018].
  • Middeke, Martin - Schnierer, P. Peter vd. (2011). Guide to Contemporary British Playwrights, Methuen Drama. London: Bloomsbury Publishing Plc.
  • Sierz, Aleks (2011). Rewriting the Nation. British Theatre Today. London: Methuen Drama.
  • Sierz, Aleks (2017). “Dark Times: British Theatre after Brexit” PAJ: A Journal of Performance and Art.XXXIX (1): 3-11.
  • Spencer, Charles (2006). “The Horror of War Comes Home” The Telegraph. http://www.telegraph.co.uk/ [Accessed 14 March 2018].
  • Stephens, Simon (2006). “I Wrote Motortown in Four Days”. Royal Theatre website. http://www.royalcourttheatre.com/archive_article_detail.asp. [Accessed 15 March 2018].
  • Stephens, Simon (2009). Introduction. Plays: 2. One Minute. Country Music. Motortown. Pornography. Sea Wall. London: Methuen Drama.
  • Taylor, Paul (2006). “Motortown, Royal Court, London” Independent. http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/motortown-royal-court-london-6102553.html. [Accessed 25 December 2017].
  • Waal De, Ariane (2017). Theatre on Terror: Subject Positions in British Drama. Boston, MA: De Gruyter.

Witnessing Trauma in Simon Stephens’ Motortown

Year 2018, Issue: 40, 129 - 138, 24.12.2018
https://doi.org/10.21497/sefad.515053

Abstract

Simon Stephens is one of the most
important contemporary playwrights whose popularity spreads out both Britain
and continental Europe. His Motortown
(2006) consists of eight scenes. Having structural order and correlations with
each other, these scenes depict notions of fear, violence, anxiety and
traumatic experiences. The play’s protagonist, Danny, is a British soldier who
is sent to Iraq for his military service and comes back home with his traumatic
memories. Simon Stephens portrays a political play which discloses the
tormenting process of Danny’s unsuccessful treatment back home. Stephens also
depicts traumatic patterns and major trauma factors observed as the lack of
family support and psychological disorders of contemporary British society,
which are the disappointing results of war in Iraq. Applying the trauma theory
and taking into consideration the effects of war, this study will illustrate
Danny’s personal background and his traumatic experiences which become central
among other characters in contemporary British culture.

References

  • Ansdel, Caroline (2006). “Musings on Mays and Motortown” In Whats On Stage. http://www.whatsonstage.com/dl/page.php?page=greenroom&story=E8821145961557. [Accessed 18 January 2018].
  • Avishai, Margalit (2004). The Ethics of Memory. Cambridge, MA: Harvard University Press.
  • Buse, Peter (2001). Drama+Theory Critical Approaches to Modern British Drama. Manchester: Manchester University Press.
  • Caruth, Cathy (1996). Unclaimed Experience: Trauma, Narrative and History. Baltimore, MA and London: Johns Hopkins University Press.
  • Edkins, Jenny (2003). Trauma and Memory of Politics. Cambridge: Cambridge University Press.
  • Freud, Sigmund (1961). Beyond the Pleasure Principle. New York: W.W. Norton.
  • Gardner, Lyn (2006). “Review of Motortown, Royal Court London Stage” The Guardian. https://www.theguardian.com/stage/2006/apr/25/theatre. [Accessed 6 February 2018]
  • Herman, L.Judith (1992). Trauma and recovery. New York: Basic Books.
  • Innes, Christopher (2011). “Simon Stephens” In The Methuen drama guide to Contemporary British playwrights. eds. Martin Middeke - Peter Paul Schnierer. London: Methuen Drama. 445-465.
  • Jeffery, Simon (2003). “UK’s biggest peace rally” The Guardian. https://www.theguardian.com/uk/2003/feb/15/politics.politicalnews. [Accessed 09 March 2018].
  • Marder, Elisa (2006). “Trauma and literary studies: Some enabling questions” Reading on: Trauma, memory and testimony. 1 (1), 1-6. Retrieved from http://readingon.library.emory.edu/issue1/iss1toc.htm. [Accessed 09 March 2018].
  • Middeke, Martin - Schnierer, P. Peter vd. (2011). Guide to Contemporary British Playwrights, Methuen Drama. London: Bloomsbury Publishing Plc.
  • Sierz, Aleks (2011). Rewriting the Nation. British Theatre Today. London: Methuen Drama.
  • Sierz, Aleks (2017). “Dark Times: British Theatre after Brexit” PAJ: A Journal of Performance and Art.XXXIX (1): 3-11.
  • Spencer, Charles (2006). “The Horror of War Comes Home” The Telegraph. http://www.telegraph.co.uk/ [Accessed 14 March 2018].
  • Stephens, Simon (2006). “I Wrote Motortown in Four Days”. Royal Theatre website. http://www.royalcourttheatre.com/archive_article_detail.asp. [Accessed 15 March 2018].
  • Stephens, Simon (2009). Introduction. Plays: 2. One Minute. Country Music. Motortown. Pornography. Sea Wall. London: Methuen Drama.
  • Taylor, Paul (2006). “Motortown, Royal Court, London” Independent. http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/motortown-royal-court-london-6102553.html. [Accessed 25 December 2017].
  • Waal De, Ariane (2017). Theatre on Terror: Subject Positions in British Drama. Boston, MA: De Gruyter.
There are 19 citations in total.

Details

Primary Language English
Journal Section Articles
Authors

Mesut Günenç

Publication Date December 24, 2018
Submission Date March 17, 2018
Published in Issue Year 2018 Issue: 40

Cite

APA Günenç, M. (2018). Witnessing Trauma in Simon Stephens’ Motortown. Selçuk Üniversitesi Edebiyat Fakültesi Dergisi(40), 129-138. https://doi.org/10.21497/sefad.515053

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