The affective performativity: affect and meaning-making in Sarah kane's blasted
Başlık çevirisi mevcut değil.
- Tez No: 786433
- Danışmanlar: PROF. DR. SABİNE SCHÜLTİNG, PROF. DR. ANDREAS MAHLER
- Tez Türü: Yüksek Lisans
- Konular: Sahne ve Görüntü Sanatları, İngiliz Dili ve Edebiyatı, Performing and Visual Arts, English Language and Literature
- Anahtar Kelimeler: Belirtilmemiş.
- Yıl: 2018
- Dil: İngilizce
- Üniversite: Freie Universität Berlin
- Enstitü: Yurtdışı Enstitü
- Ana Bilim Dalı: Belirtilmemiş.
- Bilim Dalı: Belirtilmemiş.
- Sayfa Sayısı: 78
Özet
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Özet (Çeviri)
A challenge as much for audiences and readers as for directors, actors, designers involved in the fabrication and development of the productions, Sarah Kane's plays are famous for their spectacular aesthetics. The demanding stage directions, the violence and tortures entwined with tenderness and love, the ambiguity and sometimes absence of definite theatrical spaces and characters add to the affective dimensions of Blasted, Phaedra's Love, Cleansed, Crave and 4.48 Psychosis. Baby-eating, eye-gouging, rape, torture,“people packing into trucks like pigs”fleeing in fear of the war – Sarah Kane's first breathtaking play Blasted was one of the most noted cultural events of the 1990s. Though the play, famous both for its shockingly dark content and unconventional form, is now regarded as a milestone in the history of British theatre, its first appearance on stage caused a great scandal. Approached in the light of the heightened interest in affect theory and in terms of the common sentiments on affect/emotion in the late 20th century experimental theatre, the questions how Blasted was expected to affect and how it moved the audiences in 1995 gain different significance. The past few decades have seen increasingly rapid advances in the study of affect in the scientific, political, psychological, social and literary fields. The perception of that which is either nonliving, visceral, lacking analytic thinking or that which throughout history has been seen as the subordinate 'other' lacking agency as forces having the potential to affect, has changed the general approach to relations. The following study approaches Sarah Kane's Blasted as part of the 'affective' movement of the late 90s. The aim is to explore the affective relations within the fictional world of the play by analysing Ian's, Cate's and the Soldier's relationships and presence in terms of emotions as well as the potential ways it has been meant to affect the audiences and the controversial impacts of the 1995 production at the Royal Court Theatre Upstairs in London. It is mainly approached in III the context of the socio-cultural and socio-psychological affect theorists' works such as Sara Ahmed, Margaret Wetherell and Sianne Ngai. Terms and notions such as 'affective meaning-making', 'affective performativity' and 'circuits of affect' are explained and used in the course of the analyses. The thesis offers a close reading of the affective circulations of emotions such as 'hate', 'love', 'disgust' and 'pain' in Kane's Blasted and contributes to the considerably new way of analysing literature through affect theory.
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