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Harold Pinter'ın ilk dönem oyunlarında korku ögesi

The element of fear in Harold Pinter's first plays

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  1. Tez No: 26498
  2. Yazar: OYA TUNABOYLU
  3. Danışmanlar: PROF. DR. FEHMİ EFE
  4. Tez Türü: Yüksek Lisans
  5. Konular: İngiliz Dili ve Edebiyatı, English Language and Literature
  6. Anahtar Kelimeler: Korku, Pinter, Harold, Tiyatro, İngiliz tiyatrosu, Fear, Pinter, Harold, Theatre, British theater
  7. Yıl: 1993
  8. Dil: Türkçe
  9. Üniversite: Atatürk Üniversitesi
  10. Enstitü: Sosyal Bilimler Enstitüsü
  11. Ana Bilim Dalı: Yabancı Diller Eğitimi Ana Bilim Dalı
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: Belirtilmemiş.

Özet

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Özet (Çeviri)

This study proposes to reflect the element of fear in Harold Pinter's three plays which characterize his earlier career. In his first play The Room (first presented at Bristol University in May 1957) Rose and her silent-to- dumb husband Bert Hudd, both isolated individuals confined to the walls of a cosy room, feel utmost security. Rose uses the weather outside to emphasize the protective function of her room; the world outside is cold and dark whereas inside the room keeps warm. First Mr and Mrs Sands come from the world outside; they look for a vacant room and they are said by a man in the basement that the room number 7 is vacant. Rose is shaken by the fear of losing her room which means security and rest of mind. Yet the arrival of the blind negro Riley with a“come home”message absolutely threatens her self- contained world. This is the negro waiting in the basement to see Rose Hudd for days-Mr Kidd, seemingly the landlord, mentioned. At the end of the play, Bert breaking up his silence, strikes Riley motionless and Rose becomes blind. Despite her all precautions what happens to Rose confronts us with the very fact that nothing is certainİÜ in the world and life is pregnant with unpredictable happenings, though we want life steps beyond our control. We see most of these characteristics in his first full-length play The Birthday Party which opened at the Arts Theatre Cambridge on 28 April 1958. Meg Boles, reminiscent of Rose Hudd in The Room treats Stanley with a stifling motherliness. Being an unsuccessful pianist, Stanley, finds refuge in Meg and Petey Boles' s boarding house at a seaside resort. Stanley has the fear of failure once he experienced as a pianist. Disappointed by this experience and the other troubles of life-dominance of the people around, existential fear-Stanley turns out to be an isolated and agoraphobic character. With the appearance of two sinister men, McCann and Goldberg, Stanley is alarmed. Symbolic birthday party arranged by Meg and these two men costs Stanley Webber much. He is cross-examined nonsensically at the party, they hit him, and break his glasses. In the last act (completely three acts) McCann and Goldberg drive Stanley from the warmth of his security promising him a new identity in a new world. Dressed in black jacket and striped trousers with a bowler hat on, Stanley looks amazingly different. Loneliness-stricken Stanley to some extent epitomizes today's poor man with worldly fears. In his second one-act play, The Dumb Waiter, (firstIV presented at the Hampstedd Theatre Club on 21 January, 1960) Ben and Gus, waiting in a dingy basement remind us of McCann and Goldberg in the former play. Ben, full of spurious worldly wisdom and dominance, reads the sensational items to Gus, these items all deal with death. As it is right with other Pinter characters we do not know exactly who they are and why they are waiting but their words reveal that they are hired killers serving in an organization. By the middle of the play the appearance of a dumb waiter with waiter's order slip on, threatens this interesting couple. Without questioning further, they send all their foodstuffs. At times, they receive very complicated and exotic food commands. At the end of the play Gus goes off the stage Ben receives the command from the speaking tube. Then Ben faces him, (Gus) gun in hand and presumably shoots him.

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