Oktay Arayıcı'nın oyunlarında ironi çeşitlemesi
| buir.advisor | Halman, Talât | |
| dc.contributor.author | Altıkulaç, Refika | |
| dc.date.accessioned | 2016-07-01T10:56:51Z | |
| dc.date.available | 2016-07-01T10:56:51Z | |
| dc.date.issued | 2003 | |
| dc.description | Cataloged from PDF version of article. | en_US |
| dc.description.abstract | Oktay Arayıcı, who is one of the important playwrights of the Turkish Theatre, makes use of the defamiliarism method of Epic theatre and Traditional theatre in his plays. If we study the use of this method of defamiliarism in his plays entitled Bir Ölümün Toplumsal Anatomisi, Seferi Ramazan Bey’in Nafile Dünyası, Rumuz Goncagül and Tanilli Dosyası (Geçit), we find out that he utilizes Epic Theatre’s characteristics to attract attention to his message and he employs Traditional theatre’s characteristics to enrich his narration. We can say that Oktay Arayıcı has his own ironic point of view. The playwright’s approach to the play, the actors’ approach to their roles and the audience’s approach to the play create a sort of irony. Oktay Arayıcı conveys serious and clear messages in his plays. In addition, his approach is tolerant and humane. In his plays, his criticism is relevant to social problems. The heroes of the plays can be tolerant and we may think that it is the humane weakness. Therefore, we can assert that the author has an understanding of irony that is humorous and tolerant. In Epic theatre the message is taken very seriously. The players convey a message that is serious and clear. On the other hand, Traditional theatre approaches life humorously and players create the irony. In Oktay Arayıcı’s plays, the audiences are usually in an ironic position in which they are neither fully aware nor fully unaware of what is happening. They might receive the message or not. They may hesitate or content theirselves with perceiving the play. This situation causes a different ironic situation in each of his plays. Oktay Arayıcı has a different understanding of irony in his plays. In addition he has some characteristics similar to his contemporaries in terms of his a different use of Epic and Traditional theatre . | en_US |
| dc.description.provenance | Made available in DSpace on 2016-07-01T10:56:51Z (GMT). No. of bitstreams: 1 0002272.pdf: 996657 bytes, checksum: 753e91ec85e2282abbef91f75c646ee2 (MD5) Previous issue date: 2003 | en |
| dc.description.statementofresponsibility | Altıkulaç, Refika | en_US |
| dc.format.extent | vii, 143 leaves | en_US |
| dc.identifier.itemid | BILKUTUPB070956 | |
| dc.identifier.uri | http://hdl.handle.net/11693/29267 | |
| dc.language.iso | English | en_US |
| dc.rights | info:eu-repo/semantics/openAccess | en_US |
| dc.subject | Epic theatre | en_US |
| dc.subject | Defamiliarism | en_US |
| dc.subject | İrony | en_US |
| dc.subject | Traditional theatre | en_US |
| dc.subject.lcc | PL237.A7395 A4 2003 | en_US |
| dc.subject.lcsh | Authors, Turkish 20th century. | en_US |
| dc.title | Oktay Arayıcı'nın oyunlarında ironi çeşitlemesi | en_US |
| dc.type | Thesis | en_US |
| thesis.degree.discipline | Turkish Literature | |
| thesis.degree.grantor | Bilkent University | |
| thesis.degree.level | Master's | |
| thesis.degree.name | MA (Master of Arts) |
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