{"id":294,"date":"2009-03-01T17:15:42","date_gmt":"2009-03-01T14:15:42","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/03\/01\/cehov-laz-degildir\/"},"modified":"2009-03-01T17:15:42","modified_gmt":"2009-03-01T14:15:42","slug":"cehov-laz-degildir","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/03\/01\/cehov-laz-degildir\/","title":{"rendered":"\u00c7ehov laz de\u011fildir…"},"content":{"rendered":"

\u00c7ehov’un Vi\u015fne Bah\u00e7esi oyunu Lopahin’le ba\u015flar. Lopahin in bekleyi\u015fi bir anlamda kendi gelece\u011fini bir bekleyi\u015ftir. Lopahin oyun i\u00e7inde ki eski-yeni kar\u015f\u0131tla\u015fmas\u0131n da yeni olan\u0131 simgeler. Eskiyi temsil eden ise onun bekledi\u011fi Ravneskaya ve taifesidir. Oyunun en ba\u015f\u0131nda Lopahin’in sahneye \u00e7\u0131kmas\u0131, eski-yeni \u00e7at\u0131\u015fmas\u0131n\u0131n kimin galibiyetiyle sonu\u00e7lanaca\u011f\u0131n\u0131 g\u00f6sterir. Lopahin yeni d\u00fczenin ba\u015flang\u0131c\u0131d\u0131r. K\u00f6hnemi\u015f d\u00fczenin oyundaki ba\u015fl\u0131ca sembollerinden biri olan Firs’in oyunun en sonunda oyunu bitiren ki\u015fi olarak sahneye \u00e7\u0131kmas\u0131; art\u0131k onun da bu d\u00fcnya i\u00e7in i\u015flevsizle\u015fti\u011finin ve onunla temsil edilen d\u00fczenin de sonunun geldi\u011finin g\u00f6stergesidir. Ba\u015flayan lopahin- biten Firs: oyunun anlam\u0131 bu iki u\u00e7ta gizlidir.<\/p>\n

Oyunun \u00e7\u00f6z\u00fcmlenmesi feodal d\u00fczenin ve onunla sava\u015f\u0131ma giren yeni s\u0131n\u0131f\u0131n bilinirli\u011fi \u00f6l\u00e7\u00fcs\u00fcnde m\u00fcmk\u00fcnd\u00fcr. Yeni s\u0131n\u0131flar daima eskinin i\u00e7inden y\u00fckselmi\u015fler ve belli bir\u00a0ekonomik g\u00fcce kavu\u015funca siyasal erke ula\u015fmak i\u00e7in gizli ve sonras\u0131nda alenen\u00a0sava\u015f\u0131mlar y\u00fcr\u00fcm\u00fc\u015flerdir sistemle. Feodal s\u0131n\u0131f ki oyunda Ravneskaya’lard\u0131r, k\u00f6leci sistemin evirilerek \u00fcretici g\u00fc\u00e7lerinin daha \u00fcst\u00fcn bir d\u00fczeye gelmesiyle birlikte ortaya \u00e7\u0131km\u0131\u015ft\u0131r. \u00dcretici g\u00fc\u00e7,\u00fcretim ara\u00e7lar\u0131 vb. kavramlar s\u0131n\u0131f tan\u0131mlamalar\u0131nda \u00e7ok \u00f6nemli olan kavramlard\u0131r. Bir s\u0131n\u0131f\u0131 di\u011ferinden ay\u0131ran temel noktad\u0131r \u00fcretim ara\u00e7lar\u0131na sahip olma ve \u00fcretici g\u00fc\u00e7lerin kimin i\u00e7in faaliyet g\u00f6sterdi\u011fi noktas\u0131. \u0130\u015fte feodal d\u00fczenin yeni s\u0131n\u0131f\u0131 olan seny\u00f6rler kendilerinden \u00f6ncekilerin sahip olmad\u0131klar\u0131na sahiplerdi: bir \u00fcretim arac\u0131 olan topra\u011fa ve \u00fcretimi ger\u00e7ekle\u015ftiren serflere. Sonras\u0131nda k\u00f6leci sistemin ba\u015f\u0131na gelen \u015fey\u00a0feodallerin kar\u015f\u0131s\u0131na \u00e7\u0131km\u0131\u015ft\u0131r, oyunda Lopahin’le simgelenen burjuva s\u0131n\u0131f\u0131ndad\u0131r s\u0131ra. \u00c7ok uzun zamand\u0131r devam eden burjuvazi ile feodal s\u0131n\u0131flar aras\u0131nda var olan kavga art\u0131k vi\u015fne bah\u00e7esi oyununun ge\u00e7ti\u011fi ge\u00e7i\u015f s\u00fcrecine dayanm\u0131\u015ft\u0131r art\u0131k yeni ve g\u00fc\u00e7l\u00fc \u00fcretim ara\u00e7lar\u0131na sahip olan burjuvazi y\u00fcr\u00fctt\u00fc\u011f\u00fc m\u00fccadelede tahta \u00e7\u0131kmak \u00fczeredir. Feodalite son nefesini vermek \u00fczeredir,can \u00e7eki\u015fmektedir lopahin (burjuvazi) eski d\u00fczenin ba\u011fr\u0131na inen bir k\u0131l\u0131\u00e7 darbesidir. Oyuna ad\u0131n\u0131 veren ve eski d\u00fczenin simgesel d\u00fczeyde g\u00f6stergesi olan vi\u015fne bah\u00e7esi yok edilecektir.<\/p>\n

Lopahin ‘kelebe\u011fin kozadan \u00e7\u0131kmas\u0131 gibi eskinin i\u00e7inden \u00e7\u0131km\u0131\u015ft\u0131r ve onu reddederek,y\u00fckselen s\u0131n\u0131f olan burjuvaziyi olu\u015fturur. Eskinin i\u00e7inden \u00e7\u0131kt\u0131\u011f\u0131 i\u00e7in kendinde feodal de\u011ferleri bar\u0131nd\u0131r\u0131r Lopahin ve yeniyi sahiplendi\u011fi i\u00e7in \u00f6zellikle eyleminde burjuva s\u0131n\u0131f karakterini sergiler. Burjuva kurnazl\u0131\u011f\u0131 onun en tipik \u00f6zelli\u011fidir. Ravneskaya’lara g\u00f6sterdi\u011fi yak\u0131nl\u0131k, oyun en ba\u015f\u0131ndaki bekleyi\u015fi de dahil kurdu\u011fu plan\u0131n par\u00e7alar\u0131d\u0131r. Kaleyi i\u00e7ten dinamitlemek i\u00e7in truva at\u0131n\u0131 oynamaktad\u0131r. Burada \u015funu eklemeliyiz onun bu iki y\u00fczl\u00fc tavr\u0131 yukar\u0131 da belirtti\u011fimiz yeni s\u0131n\u0131f\u0131n eski s\u0131n\u0131fa kar\u015f\u0131 y\u00fcr\u00fctt\u00fc\u011f\u00fc sava\u015f\u0131m\u0131n gizli olan b\u00f6l\u00fcm\u00fcd\u00fcr daha sonra g\u00f6r\u00fclece\u011fi gibi Lopahin her \u015feyi eline ge\u00e7irdi\u011finde a\u00e7\u0131k bir sava\u015f i\u00e7ine girer. Ve oynad\u0131\u011f\u0131 oyun ba\u015far\u0131ya ula\u015f\u0131r, vi\u015fne bah\u00e7esi (eski d\u00fczen) ele ge\u00e7irilir (devrim) s\u0131ra onun ortadan kald\u0131r\u0131lmas\u0131na gelir. Oyun sonunda duyulan balta sesleri yeni s\u0131n\u0131f\u0131n zaferini mu\u015ftular. Eskisi her yenilen gibi tarihin sahnesini terk eder. Tarihin sayfalar\u0131nda art\u0131k burjuvazinin kalemi dola\u015facakt\u0131r. <\/p>\n

\u00c7ehov’un Vi\u015fne Bah\u00e7esi oyunu s\u0131n\u0131flar m\u00fccadelesi temas\u0131 \u00fczerine oturur. \u00c7ehov bu anlam \u00f6rg\u00fcs\u00fcn\u00fc vermek i\u00e7in karakter-zaman-mekan ili\u015fkisini \u00e7ok ustaca kurgulam\u0131\u015ft\u0131r. <\/p>\n

Karakterler ba\u011fl\u0131 bulunduklar\u0131 s\u0131n\u0131f\u0131n \u00f6zelliklerini kendilerinde bar\u0131nd\u0131r\u0131rlar. \u00d6rne\u011fin Ravneskaya’n\u0131n ge\u00e7mi\u015fe ba\u011fl\u0131l\u0131\u011f\u0131,a\u011f\u0131r ba\u015fl\u0131l\u0131\u011f\u0131 vb. \u00f6zellikler aristokrasinin y\u00fcceltilen ki\u015filik \u00f6zellikleridir. <\/p>\n

Mekan olarak malikanenin ve vi\u015fne bah\u00e7esinin kullan\u0131lmas\u0131. Zaman olarak toplumsal d\u00f6n\u00fc\u015f\u00fcm\u00fcn ya\u015fand\u0131\u011f\u0131 bir d\u00f6nemde olaylar\u0131n geli\u015fmesi \u00f6z a\u00e7\u0131s\u0131ndan \u00f6nemli g\u00f6stergelerdir. <\/p>\n

Zaman konusunda eklememiz gereken bir noktada ; \u00f6zellikle Ravneskaya’lar\u0131n asl\u0131nda kaybettiklerinin fark\u0131nda olmalar\u0131na kar\u015f\u0131n g\u00f6sterdikleri dura\u011fan \u00f6znel zamanlar\u0131yla, oyunun d\u0131\u015f\u0131nda h\u0131zla ge\u00e7ti\u011fini alg\u0131lad\u0131\u011f\u0131m\u0131z nesnel zaman aras\u0131nda var olan \u00e7eli\u015fkidir. Geride kalanlar zaman\u0131 durdurmak ve geriye \u00e7ekmek \u00f6zlemindedirler, \u00e7\u00fcnk\u00fc nesnel zaman onlar\u0131n aleyhine i\u015flemektedir. Ger\u00e7ek zaman\u0131n kabul\u00fc bir anlamda kendi kaybedi\u015flerinin de kabul\u00fc anlam\u0131na gelmektedir. <\/p>\n

Oyunun \u00f6z\u00fcn\u00fcn izleyiciye do\u011fru bir \u015fekilde verilebilmesi, \u00f6z\u00fc aktarmada kullan\u0131lan bi\u00e7imin \u00f6z ile uyu\u015fmas\u0131yla m\u00fcmk\u00fcnd\u00fcr. Aynen \u00c7ehov’un kulland\u0131\u011f\u0131 karakter-zaman-mekan ili\u015fkisinin i\u00e7eri\u011fi sunmadaki ba\u015far\u0131s\u0131 gibi, bi\u00e7im \u00f6ze tezat olu\u015fturmad\u0131\u011f\u0131 m\u00fcddet\u00e7e sanatsal yarat\u0131mda ba\u015far\u0131 sa\u011flanabilir. <\/p>\n

Gelelim Ferhan \u015fensoy’un \u00c7ehov’un Vi\u015fne Bah\u00e7esi’ nden uyarlad\u0131\u011f\u0131 Fi\u015fne Pah\u00e7esu oyununa. Uyarlama dememize kar\u015f\u0131l\u0131k \u00f6yk\u00fcsel ak\u0131\u015f Vi\u015fne Bah\u00e7esi oyununa uygunluk g\u00f6steriyor. \u015eensoy daha \u00e7ok bi\u00e7imsel baz\u0131 de\u011fi\u015fikliklerle, eklemelere gitmi\u015f. Fi\u015fne Pah\u00e7esu \u00c7ehov’un Vi\u015fne Bah\u00e7esi’ ni kaynak ald\u0131\u011f\u0131 i\u00e7in kaynak metinden hareketle bu g\u00f6sterimin ele\u015ftirisinin yap\u0131lmas\u0131 daha sa\u011fl\u0131kl\u0131 olacakt\u0131r. <\/p>\n

Ferhan \u015eensoy’un haz\u0131rlad\u0131\u011f\u0131 program dergisinde Vi\u015fne Bah\u00e7esi’nin \u00c7ehov’ un bir \u00e7ok oyununa yap\u0131ld\u0131\u011f\u0131 gibi yanl\u0131\u015f olarak dram \u015feklinde oynand\u0131\u011f\u0131n\u0131, do\u011frusunun \u00c7ehov’un istedi\u011fi komedya tarz\u0131nda bir sahneleme oldu\u011funu s\u00f6yl\u00fcyor. Kendisinin, oyunu komedi formunda sahneleyerek \u00c7ehov’un vasiyetini yerine getirdi\u011fini belirtiyor. <\/p>\n

E\u011fer sanatsal olan\u0131 bi\u00e7imsel bir olgu olarak kabul ediyorsak Vi\u015fne Bah\u00e7esi’nin abart\u0131l\u0131 komedya tarz\u0131nda oynanmas\u0131 bizim i\u00e7in problem te\u015fkil etmez. \u015eayet \u00f6z olgusunu sanat\u0131n kalbi olarak g\u00f6r\u00fcyorsak i\u015fte o zaman Fi\u015fne Pah\u00e7esu oyununda bi\u00e7im-i\u00e7erik uyu\u015fmazl\u0131\u011f\u0131ndan do\u011fan problemlerin oldu\u011funu kabul etmemiz gerekiyor. <\/p>\n

Bir kere en ba\u015fta oyunun komedya tarz\u0131nda \u00fcstelik abart\u0131ya ka\u00e7arak oynanmas\u0131 kar\u015f\u0131m\u0131za \u00e7\u0131kan problemlerin en \u00f6nemlisidir. Komedi \u00f6\u011fesinin izleyici ile oyunun \u00f6z\u00fc aras\u0131ndaki ba\u011flant\u0131n\u0131n kurulmas\u0131n\u0131 engelledi\u011fini d\u00fc\u015f\u00fcn\u00fcyorum. Komedya , yerine-zaman\u0131na g\u00f6re iki farkl\u0131 i\u015flevde kullan\u0131l\u0131r. Bunlardan birincisi d\u00fczeyli bir mizah ile yani kahkahalarla g\u00fcld\u00fcrme de\u011fil d\u00fc\u015f\u00fcnd\u00fcrerek g\u00fcl\u00fcmsetme amac\u0131yla yap\u0131land\u0131r ki\u00a0bu ayn\u0131 zamanda toplumsal bir ele\u015ftiri silah\u0131d\u0131r. \u0130kincisi ise daha \u00e7ok e\u011flenceye y\u00f6nelik\u00a0olan g\u00fcld\u00fcrme ama\u00e7l\u0131 komedidir.\u00a0\u0130kisini\u00a0bir birinden ay\u0131ran en \u00f6nemli unsur bar\u0131nd\u0131rd\u0131klar\u0131 \u00f6zde gizlidir. \u00d6z\u00fcn ne oldu\u011fu ve de\u00a0ne \u015fekilde verildi\u011fi kritik bir sorundur. O nedenle bunlardan birincisinin yani ele\u015ftirel y\u00f6n\u00fc olan t\u00fcr\u00fcn\u00fcn ikincisine d\u00f6n\u00fc\u015fme tehlikesi her zaman vard\u0131r. Bu sorunun konu\u015ftu\u011fumuz oyun i\u00e7in de ge\u00e7erli oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. \u00c7ehov’un Vi\u015fne Bah\u00e7esi derin anlam \u00f6rg\u00fcs\u00fcne sahip bir oyundur, bu oyunun abart\u0131l\u0131 bir \u015fekilde komedi \u015feklinde oynanmas\u0131 oyunun i\u00e7eri\u011finin mu\u011flakta kalmas\u0131 sonucunu do\u011furmu\u015f. \u00d6rne\u011fin kullan\u0131lan dil oyunun T\u00fcrkiye’ye uyarland\u0131\u011f\u0131n\u0131n bir g\u00f6stergesi ve de bir komedi \u00f6\u011fesi olarak bize sunulurken daha oyunun ilk an\u0131nda \u00f6ze ula\u015f\u0131lmas\u0131nda bir engel olu\u015fturmaktad\u0131r. Kullan\u0131lan dil oyunun \u00f6z\u00fc olan s\u0131n\u0131flar aras\u0131 m\u00fccadelenin neresine d\u00fc\u015fmektedir bu anla\u015f\u0131lamamaktad\u0131r. <\/p>\n

Yine ele\u015ftirel tiyatroda \u00f6nemli bir unsur olan yabanc\u0131la\u015ft\u0131rma \u00f6\u011fesinin Ferhan \u015eensoy’un oyununda amac\u0131na ula\u015fmad\u0131\u011f\u0131 kan\u0131s\u0131nday\u0131m. Esasen bana kal\u0131rsa bu yabanc\u0131la\u015ft\u0131rma \u00f6\u011fesinin komedya formundaki oyunlarda bir komedi malzemesi olarak i\u015f yapmas\u0131ndan kaynaklan\u0131yor. Seyirci komedi izlerken her an g\u00fclmeyi beklemekte yabanc\u0131la\u015ft\u0131rma i\u00e7in yap\u0131lanlarda bir g\u00fclme malzemesi olarak alg\u0131lanmaktad\u0131r. \u00d6rne\u011fin cep telefonu numaras\u0131 yada kadehlerde yanan mumlar kimleri\u00a0oyundan uzakla\u015ft\u0131rarak \u00f6z i\u00e7in d\u00fc\u015f\u00fcnmesini sa\u011flam\u0131\u015ft\u0131r; bence hi\u00e7 kimseyi, ;ama kimleri g\u00fcld\u00fcrm\u00fc\u015ft\u00fcr diye sorsayd\u0131k i\u015fte o zaman bu sorunun cevab\u0131: Bir \u00e7o\u011funu olurdu. <\/p>\n

Yine karakterlerin, anlam \u00f6rg\u00fcs\u00fcn\u00fcn d\u0131\u015f\u0131na savrulan eylemlilikleri de ba\u015fka bir sorundur. \u00d6rne\u011fin aristokrasinin yani ba\u011fl\u0131 bulundu\u011fu s\u0131n\u0131f\u0131n a\u011f\u0131rba\u015fl\u0131l\u0131\u011f\u0131n\u0131 \u00fczerinde ta\u015f\u0131mas\u0131 gereken Ravneskaya Fi\u015fne Pah\u00e7esu’nda \u00e7ok y\u00fczeysel, derinli\u011fi olmayan bir tiptir. Oyunda ki kar\u015f\u0131t kutuplar anla\u015f\u0131lmadan Vi\u015fne Bah\u00e7esi oyununun anla\u015f\u0131lmas\u0131 m\u00fcmk\u00fcn de\u011fildir. Yani Ravneskaya karakterindeki bu s\u0131n\u0131fsal belirsizlik bile t\u00fcm oyunun g\u00fcme gitmesine yetecek \u00f6nemdedir. S\u0131n\u0131fsal vurgunun yeterince yap\u0131lmad\u0131\u011f\u0131 di\u011fer bir ki\u015fide Firs karakteridir, firs oyunda ya\u015fl\u0131 bir bunak olarak \u00e7izilmektedir, bize d\u00fc\u015fen bu adama ac\u0131makt\u0131r. Ger\u00e7ekte eskinin biti\u015fin en \u00f6nemli sembol\u00fcd\u00fcr firs. <\/p>\n

\u015eensoy oyunu gerek T\u00fcrkiye ye uyarlamak i\u00e7in gerekse komik \u00f6\u011feler olarak eklemledi\u011fi sahnelerin bir \u00e7o\u011fu \u00f6rne\u011fin Fethullah G\u00fclen in ad\u0131n\u0131n an\u0131lmas\u0131 \u00fc\u00e7 k\u0131z karde\u015fin oyundaki varl\u0131\u011f\u0131 vb. sahneler ne kadar oyunun \u00f6z\u00fcne g\u00f6ndermeler yapmaktad\u0131r bu tart\u0131\u015f\u0131l\u0131r. Eklenen bu sahneler bize yabanc\u0131 olmayabilir ancak \u00c7ehov’un bu oyunla vermek istedi\u011fine yabanc\u0131d\u0131r. <\/p>\n

T\u00fcm bu sayd\u0131\u011f\u0131m\u0131z sorunlar\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131nda ana neden \u015eensoy’un yazd\u0131\u011f\u0131 metnin \u00c7ehov’un metniyle uyu\u015fmamas\u0131ndan kaynaklan\u0131yor. \u015eensoy’un metni vi\u015fne bah\u00e7esi ndeki \u00f6z\u00fc mu\u011flakla\u015ft\u0131r\u0131c\u0131\u00a0bir sahnelemeyi do\u011furmaktad\u0131r. Bir ba\u015fka nokta ise yukarda da s\u00f6yledi\u011fimiz gibi bu oyunun komedya formuna pek uymamas\u0131ndan kaynaklanmakta. K\u0131saca s\u00f6yleyece\u011fimiz \u015fey Ferhan \u015eensoy’un Anton \u00c7ehov’un ger\u00e7ekte vasiyetini yerine getiremedi\u011fidir. \u015eayet \u00c7ehov Fi\u015fne Pah\u00e7esu’nu seyretseydi her halde ‘bu oyun benim de\u011fil’ derdi. Hem \u00c7ehov laz de\u011fildir ki.<\/p><\/div>\n

<\/div>\n
ERKAN K\u00dc\u00c7\u00dcK<\/div>\n","protected":false},"excerpt":{"rendered":"

\u00c7ehov’un Vi\u015fne Bah\u00e7esi oyunu Lopahin’le ba\u015flar. Lopahin in bekleyi\u015fi bir anlamda kendi gelece\u011fini bir bekleyi\u015ftir. Lopahin oyun i\u00e7inde ki eski-yeni kar\u015f\u0131tla\u015fmas\u0131n da yeni olan\u0131 simgeler. Eskiyi temsil eden ise onun bekledi\u011fi Ravneskaya ve taifesidir. Oyunun en ba\u015f\u0131nda Lopahin’in sahneye \u00e7\u0131kmas\u0131, eski-yeni \u00e7at\u0131\u015fmas\u0131n\u0131n kimin galibiyetiyle sonu\u00e7lanaca\u011f\u0131n\u0131 g\u00f6sterir. Lopahin yeni d\u00fczenin ba\u015flang\u0131c\u0131d\u0131r. K\u00f6hnemi\u015f d\u00fczenin oyundaki ba\u015fl\u0131ca sembollerinden […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-294","post","type-post","status-publish","format-standard","category-tiyatro-kritikleri"],"yoast_head":"\n\u00c7ehov laz de\u011fildir... - narteks.net<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/narteks.net\/index.php\/2009\/03\/01\/cehov-laz-degildir\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00c7ehov laz de\u011fildir...\" \/>\n<meta property=\"og:description\" content=\"\u00c7ehov’un Vi\u015fne Bah\u00e7esi oyunu Lopahin’le ba\u015flar. Lopahin in bekleyi\u015fi bir anlamda kendi gelece\u011fini bir bekleyi\u015ftir. Lopahin oyun i\u00e7inde ki eski-yeni kar\u015f\u0131tla\u015fmas\u0131n da yeni olan\u0131 simgeler. Eskiyi temsil eden ise onun bekledi\u011fi Ravneskaya ve taifesidir. Oyunun en ba\u015f\u0131nda Lopahin’in sahneye \u00e7\u0131kmas\u0131, eski-yeni \u00e7at\u0131\u015fmas\u0131n\u0131n kimin galibiyetiyle sonu\u00e7lanaca\u011f\u0131n\u0131 g\u00f6sterir. Lopahin yeni d\u00fczenin ba\u015flang\u0131c\u0131d\u0131r. 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