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Amfitiyatro, Gösteri ve İktidar Oyunları

Year 2019, Issue: 4, 49 - 76, 06.07.2019

Fidan Terzioğlu

https://doi.org/10.16878/gsuilet.542323

Abstract

Bu makale, toplu anlatıların seyir mekânı olarak amfitiyatronun
tarih boyunca geçirdiği dönüşümleri, “gösteri” kavramı ve bu kavramla etkileşen
iktidar ilişkileri bağlamında incelemektedir. Bu amaçla, amfitiyatronun oluşumu
ve dönüşümleri; bu mekânın her dönemde yüklendiği sosyal, kültürel ve siyasal
işlevler bakımından ortaya konularak yorumlanmıştır. Her dönemdeki iktidar
ilişkilerinin amfitiyatro mekânını nasıl dönüştürdüğü ve bu mekândaki
gösterinin iktidar ilişkilerini nasıl etkilediği tartışmaya açılmıştır.
Eleştirel teori geleneğinde “gösteriselleşme” olarak nitelenen, kapitalist
toplumdaki her şeyin tüketime yönelik, içeriksiz bir imgeye dönüşmesi olgusunun
kökenleri ve dinamikleri incelenmiştir. İnsanlık tarihinin en eski
sanatlarından biri olan seyirlik anlatı sanatının, yüzyıllar boyunca gelişerek,
derinleşerek, kişilerin özümsediği, içselleştirdiği bir dili nasıl oluşturduğu
araştırılmıştır. Bütün bunlardan yola çıkılarak, “gösteriselleşme” olgusunun
ötesine geçebilme imkânlarının ne yönde olabileceği işaret edilmiştir.

Keywords

gösteri gösteriselleşme kentsel mekân amfitiyatro iktidar tiyatro sinema

References

  • Adrados, F. R. (2017). Cult, lyric and komos: The origins of tragedy and comedy, once again. (S Fountoulakis, A., Markantonatos, A., Vasilaros, G., ve Xanthakē-Karamanou, (Ed.) G. Theatre world: Critical perspectives on Greek tragedy and comedy içinde (s. 3-14). Berlin: De Gruyter.
  • Arnold, C. (2015). Globe: Life in Shakespeare’s London. London: Simon & Schuster.
  • Arnott, P. D. (2003). Public and performance in the Greek theatre. London: Routledge.
  • Auchincloss, L. (1996). La gloire: The Roman Empire of Corneille and Racine. Columbia, SC: University of South Carolina Press.
  • Beacham, R. C. (1991). The Roman theatre and its audience. Cambridge, MA: Harvard University Press.
  • Beacham, R. C. (2007). Playing places: The temporary and the permanent. McDonald, M. ve Walton, J. M. (Ed.). The Cambridge companion to Greek and Roman theatre içinde (s. 202-226). Cambridge: Cambridge University Press.
  • Belton, J. (2012). American cinema/American culture. New York: McGraw-Hill.
  • Bernheimer, R. (1956). Theatrum Mundi. The Art Bulletin, 38(4), s. 225.-247. doi:10.2307/3047670.
  • Bloemendal, J., Eversmann, P. G. F. ve Strietman E. (2008). Drama, performance and debate: Theatre and public opinion in the early modern period. Leiden: Brill.
  • Bomgardner, D. L. (2001). The story of the Roman amphitheatre. London: Taylor and Francis.
  • Bonnard, A. (1962). Greek civilization: From the Iliad to the Parthenon. (L. Sells, Çev.). New York, NY: Macmillan Press.
  • Brown, J. (1995). The theatre in America during the revolution. Cambridge: Cambridge University Press.
  • Bulunmaz, B. ve Osmanoğlu, Ö. (2016). İstanbul’un 100 sinema salonu. İstanbul: İstanbul Büyükşehir Belediyesi Yayınları.
  • Butsch, R. (2000). The making of American audiences: From stage to television, 1750-1990. Cambridge: Cambridge University Press.
  • Butsch, R. (2008). The citizen audience: Crowds, publics, and individuals. New York: Routledge.
  • Carles, N. R. (2016). Early modern diplomacy, theatre and soft power: The making of peace. London: Palgrave Macmillan.
  • Charnow, S. D. (2005). Theatre, politics, and markets in fin-de-siècle Paris: Staging modernity. Basingstoke: Palgrave Macmillan.
  • Cordner, M. (2007). Players, playwrights, playhouses: Investigating performance, 1660-1800. Basingstoke: Palgrave Macmillan.
  • Csapo, E., Goette H. R., Green J. R. ve Wilson P. (Ed.). Greek Theatre in the fourth century BC. (2014). Berlin: Walter de Gruyter.
  • Davis T. C. ve Holland P. (2007). The performing century: Nineteenth-century theatre’s history. Basingstoke Palgrave Macmillan.
  • Debord, G. (1994). The society of the spectacle. (D. Nicholson-Smith, Çev.). New York, NY: Zone Books.
  • Egginton, W. (2003). How the world became a stage: Presence, theatricality, and the question of modernity. Albany, NY: State University of New York Press.
  • Fischer-Lichte, E. (2002). History of European drama and theatre. London: Routledge.
  • Fitzpatrick, T. (2011). Playwright, space and place in early modern performance: Shakespeare and Company. London: Routledge.
  • Graf, F. (2015). Roman festivals in the Greek East from the early empire to the Middle Byzantine Era. Cambridge: Cambridge University Press.
  • Greenberg, M. (1992). Subjectivity and subjugation in seventeenth-century drama and prose. Cambridge University Press.
  • Greenberg, M. (2010). Racine: From ancient myth to tragic modernity. Minneapolis: University of Minnesota Press.
  • Greenblatt, S. (2014). Will in the world: How Shakespeare became Shakespeare. London: The Bodley Head.
  • Hall, E. (2006). The theatrical cast of Athens. Oxford: Oxford University Press.
  • Hall, S. ve Neale, S. (2010). Epics, spectacles, and blockbusters: A Hollywood history. Detroit, MI: Wayne State University Press.
  • Hansen, M. B. (1991). Babel and Babylon: Spectatorship in American silent film. Cambridge, MA, etc.: Harvard University Press.
  • Jondorf, G. (1990). French Renaissance tragedy: The dramatic word. Cambridge: Cambridge University Press.
  • Kadler, E. H. (1969). Literary figures in French drama 1784-1834. Den Haag: Nijhoff.
  • Leggatt, A. (1992). Jacobean public theatre. London: Routledge.
  • Lopez, J. (2003). Theatrical convention and audience response in early modern drama. Cambridge: Cambridge University Press.
  • Low J. A. ve Myhill N. (2011). Imagining the audience in early modern drama 1558-1642. New York, NY: Palgrave Macmillan.
  • Manuwald, G. (2011). Roman republican theatre. Cambridge: Cambridge University Press.
  • Marshall, C. W. (2006). The stagecraft and performance of Roman comedy. Cambridge: Cambridge University Press.
  • McCormick, J. (1993). Popular theatres of nineteenth-century France. London: Routledge.
  • McDonald, M. ve Walton, J. M. (Ed.). (2015). The Cambridge companion to Greek and Roman theatre. Cambridge: Cambridge University Press.
  • Moretti, J. C. (2014). The evolution of theatre architecture outside Athens in the fourth century. Csapo, E., Goette H. R., Green J. R. ve Wilson P. (Ed.). Greek theatre in the fourth century BC. Içinde (s. 107-140). Berlin: Walter de Gruyter.
  • Mortensen, L. B., Lehtonen, T. M. ve Bergholm, A. (2013). The performance of Christian and pagan storyworlds: Non-canonical chapters of the history of Nordic medieval literature. Turnhout: Brepols.
  • Nowell-Smith, G. (1997). The Oxford history of world cinema. Oxford: Oxford University Press.
  • Oates, W. J. ve O’Neill E. Jr. (1938). The complete Greek drama; All the extant tragedies of Aeschylus, Sophocles and Euripides, and the comedies of Aristophanes and Menander. New York, NY: Random House.
  • Pearson, R. (2015). Victorian writers and the stage: The plays of Dickens, Browning, Collins and Tennyson. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
  • Postlewate, L. ve Hüsken, W. N. (2007). Acts and texts: Performance and ritual in the Middle Ages and the Renaissance. Amsterdam: Rodopi.
  • Powers, M. (2014). Athenian tragedy in performance. Iowa City: University of Iowa Press.
  • Prest, J. (2014). Controversy in French drama: Moliere’s Tartuffe and the struggle for influence. New York, NY: Palgrave Macmillan.
  • Rehm, R. (2005). Greek tragic theatre. London: Routledge.
  • Roselli, D. K. (2011). Theater of the people: Spectators and society in ancient Athens. Austin: University of Texas Press.
  • Rosenbaum, J. (2010). Goodbye cinema, hello cinephilia: Film culture in transition. Chicago: The University of Chicago Press.
  • Scherb, V. I. (2001). Staging faith: East Anglian drama in the later Middle Ages. Madison: Fairleigh Dickinson University Press.
  • Scullard, H. H. (1981). Festivals and ceremonies of the Roman Republic. London: Thames and Hudson.
  • Sear, F. (2006). Roman theatres: An architectural study. Oxford: Oxford University Press.
  • Shakespeare, W. ve Dusinberre, J. (2006). The Arden Shakespeare: As You Like It. London: AS.
  • Shimko, R. B. (2012). Public theatres and theatre publics. Newcastle upon Tyne: Cambridge Scholars.
  • Storey, I. C. ve Allan, A. (2005). A guide to ancient greek drama. Oxford: Wiley Blackwell.
  • Sturges, R. S. (2015). The circulation of power in Medieval Biblical drama: Theaters of authority. Basingstoke: Palgrave Macmillan.
  • Walton, J. M. (2015). Greek sense of theatre: Tragedy and comedy. London: Routledge.
  • Welling, D. (2007). Cinema Houston: From nickelodeon to megaplex. Austin: University of Texas Press.
  • Wickham, G. (1992). A history of the theatre. London: Phaidon Press.
  • Wiles, D. (1997). Tragedy in Athens: Performance space and theatrical meaning. Cambridge: Cambridge University Press.
  • Wiles, D. (2000). Greek theatre performance: An introduction. Cambridge: Cambridge University Press.
  • Wiles, D. (2014). Theatre and citizenship: The history of a practice. Cambridge: Cambridge University Press.
  • Wong, C. H. (2011). Film festivals culture, people, and power on the global screen. New Brunswick, NJ: Rutgers University Press.
  • Worrall, D. (2007). Politics of romantic theatricality 1787-1832: The road to the stage. Basingstoke: Palgrave Macmillan.

Year 2019, Issue: 4, 49 - 76, 06.07.2019

Fidan Terzioğlu

https://doi.org/10.16878/gsuilet.542323

Abstract

References

  • Adrados, F. R. (2017). Cult, lyric and komos: The origins of tragedy and comedy, once again. (S Fountoulakis, A., Markantonatos, A., Vasilaros, G., ve Xanthakē-Karamanou, (Ed.) G. Theatre world: Critical perspectives on Greek tragedy and comedy içinde (s. 3-14). Berlin: De Gruyter.
  • Arnold, C. (2015). Globe: Life in Shakespeare’s London. London: Simon & Schuster.
  • Arnott, P. D. (2003). Public and performance in the Greek theatre. London: Routledge.
  • Auchincloss, L. (1996). La gloire: The Roman Empire of Corneille and Racine. Columbia, SC: University of South Carolina Press.
  • Beacham, R. C. (1991). The Roman theatre and its audience. Cambridge, MA: Harvard University Press.
  • Beacham, R. C. (2007). Playing places: The temporary and the permanent. McDonald, M. ve Walton, J. M. (Ed.). The Cambridge companion to Greek and Roman theatre içinde (s. 202-226). Cambridge: Cambridge University Press.
  • Belton, J. (2012). American cinema/American culture. New York: McGraw-Hill.
  • Bernheimer, R. (1956). Theatrum Mundi. The Art Bulletin, 38(4), s. 225.-247. doi:10.2307/3047670.
  • Bloemendal, J., Eversmann, P. G. F. ve Strietman E. (2008). Drama, performance and debate: Theatre and public opinion in the early modern period. Leiden: Brill.
  • Bomgardner, D. L. (2001). The story of the Roman amphitheatre. London: Taylor and Francis.
  • Bonnard, A. (1962). Greek civilization: From the Iliad to the Parthenon. (L. Sells, Çev.). New York, NY: Macmillan Press.
  • Brown, J. (1995). The theatre in America during the revolution. Cambridge: Cambridge University Press.
  • Bulunmaz, B. ve Osmanoğlu, Ö. (2016). İstanbul’un 100 sinema salonu. İstanbul: İstanbul Büyükşehir Belediyesi Yayınları.
  • Butsch, R. (2000). The making of American audiences: From stage to television, 1750-1990. Cambridge: Cambridge University Press.
  • Butsch, R. (2008). The citizen audience: Crowds, publics, and individuals. New York: Routledge.
  • Carles, N. R. (2016). Early modern diplomacy, theatre and soft power: The making of peace. London: Palgrave Macmillan.
  • Charnow, S. D. (2005). Theatre, politics, and markets in fin-de-siècle Paris: Staging modernity. Basingstoke: Palgrave Macmillan.
  • Cordner, M. (2007). Players, playwrights, playhouses: Investigating performance, 1660-1800. Basingstoke: Palgrave Macmillan.
  • Csapo, E., Goette H. R., Green J. R. ve Wilson P. (Ed.). Greek Theatre in the fourth century BC. (2014). Berlin: Walter de Gruyter.
  • Davis T. C. ve Holland P. (2007). The performing century: Nineteenth-century theatre’s history. Basingstoke Palgrave Macmillan.
  • Debord, G. (1994). The society of the spectacle. (D. Nicholson-Smith, Çev.). New York, NY: Zone Books.
  • Egginton, W. (2003). How the world became a stage: Presence, theatricality, and the question of modernity. Albany, NY: State University of New York Press.
  • Fischer-Lichte, E. (2002). History of European drama and theatre. London: Routledge.
  • Fitzpatrick, T. (2011). Playwright, space and place in early modern performance: Shakespeare and Company. London: Routledge.
  • Graf, F. (2015). Roman festivals in the Greek East from the early empire to the Middle Byzantine Era. Cambridge: Cambridge University Press.
  • Greenberg, M. (1992). Subjectivity and subjugation in seventeenth-century drama and prose. Cambridge University Press.
  • Greenberg, M. (2010). Racine: From ancient myth to tragic modernity. Minneapolis: University of Minnesota Press.
  • Greenblatt, S. (2014). Will in the world: How Shakespeare became Shakespeare. London: The Bodley Head.
  • Hall, E. (2006). The theatrical cast of Athens. Oxford: Oxford University Press.
  • Hall, S. ve Neale, S. (2010). Epics, spectacles, and blockbusters: A Hollywood history. Detroit, MI: Wayne State University Press.
  • Hansen, M. B. (1991). Babel and Babylon: Spectatorship in American silent film. Cambridge, MA, etc.: Harvard University Press.
  • Jondorf, G. (1990). French Renaissance tragedy: The dramatic word. Cambridge: Cambridge University Press.
  • Kadler, E. H. (1969). Literary figures in French drama 1784-1834. Den Haag: Nijhoff.
  • Leggatt, A. (1992). Jacobean public theatre. London: Routledge.
  • Lopez, J. (2003). Theatrical convention and audience response in early modern drama. Cambridge: Cambridge University Press.
  • Low J. A. ve Myhill N. (2011). Imagining the audience in early modern drama 1558-1642. New York, NY: Palgrave Macmillan.
  • Manuwald, G. (2011). Roman republican theatre. Cambridge: Cambridge University Press.
  • Marshall, C. W. (2006). The stagecraft and performance of Roman comedy. Cambridge: Cambridge University Press.
  • McCormick, J. (1993). Popular theatres of nineteenth-century France. London: Routledge.
  • McDonald, M. ve Walton, J. M. (Ed.). (2015). The Cambridge companion to Greek and Roman theatre. Cambridge: Cambridge University Press.
  • Moretti, J. C. (2014). The evolution of theatre architecture outside Athens in the fourth century. Csapo, E., Goette H. R., Green J. R. ve Wilson P. (Ed.). Greek theatre in the fourth century BC. Içinde (s. 107-140). Berlin: Walter de Gruyter.
  • Mortensen, L. B., Lehtonen, T. M. ve Bergholm, A. (2013). The performance of Christian and pagan storyworlds: Non-canonical chapters of the history of Nordic medieval literature. Turnhout: Brepols.
  • Nowell-Smith, G. (1997). The Oxford history of world cinema. Oxford: Oxford University Press.
  • Oates, W. J. ve O’Neill E. Jr. (1938). The complete Greek drama; All the extant tragedies of Aeschylus, Sophocles and Euripides, and the comedies of Aristophanes and Menander. New York, NY: Random House.
  • Pearson, R. (2015). Victorian writers and the stage: The plays of Dickens, Browning, Collins and Tennyson. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
  • Postlewate, L. ve Hüsken, W. N. (2007). Acts and texts: Performance and ritual in the Middle Ages and the Renaissance. Amsterdam: Rodopi.
  • Powers, M. (2014). Athenian tragedy in performance. Iowa City: University of Iowa Press.
  • Prest, J. (2014). Controversy in French drama: Moliere’s Tartuffe and the struggle for influence. New York, NY: Palgrave Macmillan.
  • Rehm, R. (2005). Greek tragic theatre. London: Routledge.
  • Roselli, D. K. (2011). Theater of the people: Spectators and society in ancient Athens. Austin: University of Texas Press.
  • Rosenbaum, J. (2010). Goodbye cinema, hello cinephilia: Film culture in transition. Chicago: The University of Chicago Press.
  • Scherb, V. I. (2001). Staging faith: East Anglian drama in the later Middle Ages. Madison: Fairleigh Dickinson University Press.
  • Scullard, H. H. (1981). Festivals and ceremonies of the Roman Republic. London: Thames and Hudson.
  • Sear, F. (2006). Roman theatres: An architectural study. Oxford: Oxford University Press.
  • Shakespeare, W. ve Dusinberre, J. (2006). The Arden Shakespeare: As You Like It. London: AS.
  • Shimko, R. B. (2012). Public theatres and theatre publics. Newcastle upon Tyne: Cambridge Scholars.
  • Storey, I. C. ve Allan, A. (2005). A guide to ancient greek drama. Oxford: Wiley Blackwell.
  • Sturges, R. S. (2015). The circulation of power in Medieval Biblical drama: Theaters of authority. Basingstoke: Palgrave Macmillan.
  • Walton, J. M. (2015). Greek sense of theatre: Tragedy and comedy. London: Routledge.
  • Welling, D. (2007). Cinema Houston: From nickelodeon to megaplex. Austin: University of Texas Press.
  • Wickham, G. (1992). A history of the theatre. London: Phaidon Press.
  • Wiles, D. (1997). Tragedy in Athens: Performance space and theatrical meaning. Cambridge: Cambridge University Press.
  • Wiles, D. (2000). Greek theatre performance: An introduction. Cambridge: Cambridge University Press.
  • Wiles, D. (2014). Theatre and citizenship: The history of a practice. Cambridge: Cambridge University Press.
  • Wong, C. H. (2011). Film festivals culture, people, and power on the global screen. New Brunswick, NJ: Rutgers University Press.
  • Worrall, D. (2007). Politics of romantic theatricality 1787-1832: The road to the stage. Basingstoke: Palgrave Macmillan.
There are 66 citations in total.

Details

Primary Language Turkish
Journal Section Articles
Authors

Fidan Terzioğlu

Publication Date July 6, 2019
Published in Issue Year 2019Issue: 4

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APA Terzioğlu, F. (2019). Amfitiyatro, Gösteri ve İktidar Oyunları. Galatasaray Üniversitesi İletişim Dergisi(4), 49-76. https://doi.org/10.16878/gsuilet.542323
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