The Birth and development of community theatre in Britain
Britanya'da halk tiyatrosunun doğuşu ve gelişmesi
- Tez No: 52768
- Danışmanlar: PROF.DR. DENİZ BOZER
- Tez Türü: Yüksek Lisans
- Konular: İngiliz Dili ve Edebiyatı, English Language and Literature
- Anahtar Kelimeler: Britanya, Halk tiyatrosu, Tiyatro, İngiltere, Britain, Folk theatre, Theatre, England
- Yıl: 1996
- Dil: İngilizce
- Üniversite: Hacettepe Üniversitesi
- Enstitü: Sosyal Bilimler Enstitüsü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: Belirtilmemiş.
Özet
IV ABSTRACT Owing its birth to the political, social, cultural upheavals of the 1960s, the community theatre expanded and was recognised in the 1970s, alongside other alternative theatre movements such as political, feminist and gay theatre. The growth of freedom, one of the most important results of the political, social and cultural events of the 1960s led to the formation of new theatre movements. They all opposed mainstream theatre claiming that the established theatre addressed only the bourgeoise and that most of the British population, such as women, ethnic minorities, gays, black people was ignored. In the 1960s, there occurred a tendency to address these people excluded by the established theatre. Community theatre is one of these movements which seeks new audiences and new relationships outside the established theatre. It aims at making theatre useful to different segments of the community. The aim of this thesis is to study and discuss the reasons for the emergence and development of community theatre in Britain. Its features and its contributions to the contemporary British theatre are given with references to community theatre groups, writers and their plays. In the introductory part of this study, both the definition of community theatre and its characteristics are analysed. In the first part of the first chapter, the effects of some of the major political, social and cultural events of the 1960s, which brought about theIll Bu tezin ikinci bölümü halk tiyatrosunun 1970'lcrdcki durumu ele alınmıştır. İlk kısımda 1970'lerdeki politik, ekonomik, sosyal ve kültürel olayların halk tiyatrosuna etkisi incelenirken, ikinci kısımda Inter-Aclion, Combination ve 7:84 gibi halk tiyatrosu topluluklarının 1970'lcrdcki çalışmaları anlatıldı. Son kısımda ise 1970'lcrin halk tiyatrosunun özellikleri John McGrath'm The Cheviot, the Stag and the Black. Black Oil (1973) adlı eseri bağlamında etraflıca örneklendi. Tezin son bölümünün ilk kısmında 1980'lerdeki politik, ekonomik, sosyal ve kültürel gelişmelerin halk tiyatrosunu nasıl etkilediği anlatılmıştır. 1980'lerdeki halk tiyatrosu çalışmalarına örnek olarak Ann Jellicoc'nun Colway Theatre Trust'ı bu bölümün ikinci kısımda incelenmiştir. Bu bölümün son kısmında David Edgar'm Entertaining Strangers'ı (1985) halk tiyatrosu özellikleri göz önüne alınarak incelenmiştir. Sonuç olarak, halk tiyatrosunun doğuşu ve gelişmesi 30 yıllık bir dönemde politik, ekonomik, sosyal ve kültürel olayların çerçevesinde ele alınmıştır. Halk tiyatrosunun amacıyla, konusuyla, oyunların sergileniş biçimiyle 1960'lardan 1980'lere gösterdiği gelişmeler ve değişmeler ortaya konmuştur. Halk tiyatrosunun Britanya tiyatrosu tarihinde önemli bir yer tuttuğu saptanmıştır.
Özet (Çeviri)
IV ABSTRACT Owing its birth to the political, social, cultural upheavals of the 1960s, the community theatre expanded and was recognised in the 1970s, alongside other alternative theatre movements such as political, feminist and gay theatre. The growth of freedom, one of the most important results of the political, social and cultural events of the 1960s led to the formation of new theatre movements. They all opposed mainstream theatre claiming that the established theatre addressed only the bourgeoise and that most of the British population, such as women, ethnic minorities, gays, black people was ignored. In the 1960s, there occurred a tendency to address these people excluded by the established theatre. Community theatre is one of these movements which seeks new audiences and new relationships outside the established theatre. It aims at making theatre useful to different segments of the community. The aim of this thesis is to study and discuss the reasons for the emergence and development of community theatre in Britain. Its features and its contributions to the contemporary British theatre are given with references to community theatre groups, writers and their plays. In the introductory part of this study, both the definition of community theatre and its characteristics are analysed. In the first part of the first chapter, the effects of some of the major political, social and cultural events of the 1960s, which brought about thebirth of community theatre are discussed. In the second part, the pioneers of community theatre who are Joan Littlewood, Arnold Wesker, Peter Cheeseman and their contributions to the development of community theatre arc studied with reference to their works. The last part of the chapter deals with John Arden and Margaret D'Arcy's attempts in this area. Since their play, The Business of Good Government (1960), reflects the characteristics of community theatre, the, qualities of community theatre given in the introductory part are illustrated through reference to the play. The first part of the second chapter deals with political, social, cultural, events of the 1970s and their impact on the growth of the community theatre. With some statistics and examples the position of the community theatre in the 1970s is analysed. In the second part three community theatre companies Inter-Action, the Combination and 7:84 are studied referred to as examples of the community theatre of the 1970s. Finally, in the last part of this chapter, John McGrath's The Cheviot, the Stag, and the Black Black Oil (1973) is dealt with in terms of the characteristics of the community theatre. In the first part of the last chapter, in addition to the political, social, cultural events of the 1980s, the position of the community theatre in this decade is dealt with. In the second part, the Colway Theatre Trust is given as an example of the community theatre of the 1980s. The characteristics of the community theatre in the 1980s are examined with references to David Edgar's Entertaining Strangers (1985) in the last part of the chapter.
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