{"id":297,"date":"2009-03-01T17:28:43","date_gmt":"2009-03-01T14:28:43","guid":{"rendered":"http:\/\/localhost\/wordpress\/2009\/03\/01\/fazilet-eczanesi\/"},"modified":"2009-03-01T17:28:43","modified_gmt":"2009-03-01T14:28:43","slug":"fazilet-eczanesi","status":"publish","type":"post","link":"https:\/\/narteks.net\/index.php\/2009\/03\/01\/fazilet-eczanesi\/","title":{"rendered":"Fazilet Eczanesi"},"content":{"rendered":"

Fazilet eczanesi (1959). Taner’in ilk d\u00f6nem tiyatrosunun en olgun metnini olu\u015fturmaktad\u0131r. Oyun, yazar\u0131n toplum ele\u015ftirisini, ger\u00e7ek\u00e7i ve yan\u0131lsamac\u0131 tiyatro anlay\u0131\u015f\u0131 i\u00e7inde ve klasik olay kurgusunu kullanarak ortaya koydu\u011fu bir<\/p>\n

oyundur. \u0130lk kez 1960’ta \u0130stanbul Belediyesi \u015eehir tiyatrolar\u0131n\u0131n Ulvi Uraz’\u0131n sahnelemeleriyle sunulmu\u015ftur. Oyun Taner tiyatrosu i\u00e7in belirlenen \u00fc\u00e7 devir i\u00e7inde ilkinde yer almas\u0131na kar\u015f\u0131n ikinci devreye ge\u00e7i\u015fte bir ara oyun \u00f6zelli\u011fini g\u00f6sterir. \u0130kinci d\u00f6nemde ki epik unsurlar\u0131 i\u00e7inde bar\u0131nd\u0131rmas\u0131yla bu \u00f6zelli\u011fe sahip olur. \u00d6rne\u011fin bir anlat\u0131c\u0131 taraf\u0131ndan oyun a\u00e7\u0131l\u0131r ve on y\u0131l \u00f6nce ya\u015fanm\u0131\u015f olaylar, bir geri d\u00f6n\u00fc\u015fle sergilenir. Ayn\u0131 zamanda genelde merkezde fazilet eczanesi olmas\u0131na kar\u015f\u0131ns\u0131 onun \u00e7evresinde de pek \u00e7ok olayc\u0131k sergilenerek oyunun gev\u015fek yap\u0131s\u0131 a\u00e7\u0131k edilir. <\/p>\n

Olay 1950’lerde 28-29-ve son perdesi otuz a\u011fustosa ge\u00e7ecek \u015fekilde \u00fc\u00e7 g\u00fcnl\u00fck bir zaman dilimini kapsar. \u0130nsani ili\u015fkilerin s\u0131cakl\u0131\u011f\u0131n\u0131 muhafaza etti\u011fi bir mahallede Fazilet eczanesi adl\u0131 eski tip ila\u00e7 \u00fcretimi yapan bir eczanenin
\u00e7evresinde d\u00f6ner. Burada en \u00e7ok s\u00f6z\u00fc ge\u00e7en, en k\u0131demli ki\u015fi eczanenin sahibi olan Sadettin Bey’dir. Onun varl\u0131\u011f\u0131 bu mahalle i\u00e7in elzemdir. Bu durum kar\u015f\u0131s\u0131nda m\u00fctahit Tahsin’in apartman yapmak i\u00e7in Fazilet eczanesini ele ge\u00e7irme \u00e7abas\u0131, kar\u015f\u0131t kutup olarak yer al\u0131r. Tezde fazilet eczanesinin yer ald\u0131\u011f\u0131 mahalle ve sadettin beyin insani k\u00fclt\u00fcr\u00fc ve anti tezde m\u00fctahit Tahsin’in insansall\u0131ktan uzak para-meta merkezli \u00e7\u0131karc\u0131 d\u00fczeni yer al\u0131r. <\/p>\n

Di\u011fer yanda Sadettin’in kendinden sonra mesle\u011fini s\u00fcrd\u00fcrecek ki\u015fi olarak g\u00f6rd\u00fc\u011f\u00fc o\u011flu \u00dcnal’\u0131n babas\u0131n\u0131n beklentisinin aksine o muhitten ayr\u0131l\u0131p \u0130talya’ya gitmek istemesi, baba ile o\u011ful aras\u0131nda ya\u015fanan bir \u00e7at\u0131\u015fma yarat\u0131r..
Bunun bir benzeri, yeni d\u00fczenin simgesi burjuva Tahsin ile \u015fefkat ve sevgi aray\u0131\u015f\u0131ndaki k\u0131z\u0131 Melda aras\u0131nda ya\u015fanan \u00e7at\u0131\u015fmada g\u00f6r\u00fcl\u00fcr. \u00dcnal ile Melda’n\u0131n oyun i\u00e7inde bir \u00f6zde\u015fle\u015fmesi vard\u0131r. \u00dcnal eski d\u00fczene ka\u015f\u0131 yenilik
aray\u0131\u015f\u0131ndayken Melda yeni d\u00fczenin yaratt\u0131\u011f\u0131 insansall\u0131ktan uzak, so\u011fuk ya\u015fant\u0131s\u0131ndan \u015fikayet etmektedir. Bunlar\u0131n d\u0131\u015f\u0131nda bir ba\u015fka durum Sadettin’in kar\u0131s\u0131 Naciye’nin durumundan \u015fikayet\u00e7i olmas\u0131 ve bunu a\u015fmak i\u00e7in eskiden ili\u015fki kurdu\u011fu tiyatrocu sefa ile ka\u00e7ma giri\u015fimi yer al\u0131r. <\/p>\n

Yukar\u0131da belirtti\u011fimiz bu \u00fc\u00e7 olay d\u00fczleminin sonucu i\u015fe \u015fu \u015fekilde \u015fekillenir. Tahsin ile Sadettin aras\u0131nda ya\u015fanan kar\u015f\u0131tla\u015fmada galip gelen Tahsin’dir. \u0130stedi\u011fi gibi t\u00fcrl\u00fc dalaverelerle, fazilet eczanesini ele ge\u00e7irir. Ve eski d\u00fczenin simgesi incir a\u011fac\u0131 yerinden s\u00f6k\u00fcl\u00fcr. Ancak di\u011fer yandan sadettin tam anlam\u0131yla bitirilmez. O, k\u0131smen de olsa zamana ayak uydurmay\u0131 kabullenir (Y\u00fcmn\u00fc de\u011fi\u015fmeyerek \u00f6l\u00fcyordu). Art\u0131k o da i\u015fe ba\u015fka t\u00fcrl\u00fc yakla\u015fmaktad\u0131r. \u0130\u015fi
yeniden kurmay\u0131 d\u00fc\u015f\u00fcnmektedir, metnin sonlar\u0131na do\u011fru Sadettin’in s\u00f6zlerinde bu a\u00e7\u0131\u011fa \u00e7\u0131kar: “K\u00fc\u00e7\u00fckten ba\u015flay\u0131p, k\u00fc\u00e7\u00fckte kalacak de\u011filiz ya” Bu k\u0131smi d\u00f6n\u00fc\u015f\u00fcm onun kendi kar\u0131s\u0131na bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 da de\u011fi\u015ftirir, \u00f6nceden kendi
i\u015fini s\u00fcrd\u00fcrmesinde bir ara\u00e7ken \u015fimdi onu bir kad\u0131n olarak g\u00f6rmeye ba\u015flar: “(Naciye ili\u015fir)’sana da o sevdi\u011fin sadakor rengi ti\u015f\u00f6rt\u00fc al\u0131r\u0131m.” <\/p>\n

Bu \u00e7at\u0131\u015fma d\u0131\u015far\u0131dakiler oyununda oldu\u011fu gibi iki d\u00fczenin m\u00fccadelesidir. Kazanan hep yeni olur. Ancak, onun kazanmas\u0131, onun hakl\u0131 ve do\u011fru oldu\u011fu anlam\u0131na gelmez. Bu oyunda da g\u00f6r\u00fclece\u011fi gibi fazilet eczanesinin \u00fcretim \u015fekli talebi kar\u015f\u0131layamamaktad\u0131r. Oysa kapitalistlerin g\u00fcc\u00fc ellerini her yere uzatmalar\u0131n\u0131 sa\u011flayacak kadar \u00e7oktur ve h\u0131zla artmaktad\u0131r. Bu g\u00fc\u00e7l\u00fc yeni d\u00fczen kar\u015f\u0131s\u0131nda eski \u00fcretim ara\u00e7lar\u0131 ve \u015fekliyle dayanmak do\u011fal olarak e\u015fyan\u0131n
tabiat\u0131na ayk\u0131r\u0131d\u0131r. Kapitaliste kar\u015f\u0131 ayakta kalmak i\u00e7in oyunun kurallar\u0131na uymak zorunludur; ki Sadettin en sonunda bu y\u00f6ne do\u011fru ilerlemeye ba\u015flam\u0131\u015ft\u0131r. <\/p>\n

Di\u011fer olay bu iki d\u00fczenin ele\u015ftiri noktalar\u0131 olan \u00e7ocuklar\u0131n durumlar\u0131yla ilgilidir. Birisinin (\u00dcnal) g\u00f6zleri yukardad\u0131r. Kendi bireysel varl\u0131\u011f\u0131n\u0131n eski sistem taraf\u0131ndan (babas\u0131) ezildi\u011fini hisseder, d\u00fc\u015f\u00fc olan \u0130talya’da heykelt\u0131ra\u015fl\u0131k yapma iste\u011fi bize bir anlamda, yeniden do\u011fu\u015f anlam\u0131na gelen ve bireyin olu\u015fmas\u0131nda \u00f6nemli bir etap olan R\u00f6nesans’\u0131 \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. Ancak en sonunda o t\u00fcm bu s\u00fcre\u00e7lerden ge\u00e7tikten sonra kendi iradesi ve bilinciyle babas\u0131yla (ge\u00e7mi\u015f de\u011ferler) bar\u0131\u015f\u0131r. Oysa kar\u015f\u0131t kutuptaki Tahsin’in k\u0131z\u0131 Melda, babas\u0131yla bar\u0131\u015fmaz. Ona tabi olmaktan kurtulup kendi ayaklar\u0131 \u00fczerinde durarak birey olma yolunda ilerler. <\/p>\n

Bu ikisinin durumu yazar\u0131n d\u00fc\u015f\u00fcncesini a\u00e7\u0131\u011fa vurur. Yazar \u00dcnal’\u0131 babas\u0131yla bar\u0131\u015ft\u0131rarak geleneksel de\u011ferlerin i\u00e7inde olumlu yanlar\u0131n var oldu\u011funu ve ( ki \u00f6zellikle Sadettin’in insani ili\u015fkilerdeki s\u0131cakl\u0131\u011f\u0131 \u00f6rneklenebilir)ve ilerleme
s\u00fcrecinde bunlar\u0131n varl\u0131\u011f\u0131n\u0131n kabul edilip \u00f6z\u00fcmsenmesin gerekli oldu\u011funu d\u00fc\u015f\u00fcn\u00fcr. Ge\u00e7mi\u015fi t\u00fcm\u00fcyle reddetmek hatad\u0131r. ( ge\u00e7mi\u015fin reddi konusu, d\u0131\u015far\u0131dakiler oyunu i\u00e7in de \u00f6nemli tezlerden biriydi). Yine yeni d\u00fczeni meta-
ideolojisinin ve insani olan\u0131 hi\u00e7e sayan tutumunda Melda’y\u0131 babas\u0131yla bar\u0131\u015ft\u0131rmayarak tavr\u0131n\u0131 belli eder yazar.
Ba\u015flarda belirtti\u011fimiz gibi tez olarak gelenekselden, anti tez olarak da yeni d\u00fczenden yola \u00e7\u0131karak bunlar\u0131n olumlu \u00f6zelliklerinden senteze var\u0131lmas\u0131 fikrindedir H.Taner. <\/p>\n

Oyunun bir ba\u015fka boyutunda Naciye’nin ya\u015fad\u0131klar\u0131na bakt\u0131\u011f\u0131m\u0131zda, onun g\u00f6z\u00fc daha iyi ve \u00f6zg\u00fcr bir ya\u015fant\u0131dad\u0131r. Baba evindeyken ba\u015flayan s\u0131k\u0131nt\u0131s\u0131, daha sonras\u0131nda yapt\u0131\u011f\u0131 evliliklerde de devam etmi\u015ftir. Buradan \u00e7\u0131karaca\u011f\u0131m\u0131z sonu\u00e7, Naciye’nin ya\u015fant\u0131s\u0131 toplumsal k\u00fclt\u00fcr\u00fcn ataerkil yap\u0131s\u0131n\u0131n bir sonucu oldu\u011fu y\u00f6n\u00fcndedir. Zaten bu y\u00fczden Naciye oyunun sonlar\u0131na do\u011fru bir kurtulu\u015f umuduyla ka\u00e7t\u0131\u011f\u0131 yerde de yine kendisini s\u0131k\u0131nt\u0131lar\u0131n bekledi\u011fini g\u00f6r\u00fcr. Yani d\u00fczen hep ayn\u0131d\u0131r nereye gitse onun kar\u015f\u0131s\u0131na \u00e7\u0131kar. Oyunun sonunda Sadettin’in d\u00f6n\u00fc\u015f\u00fcme u\u011framas\u0131 Naciye ad\u0131na bir umuttur gelecek i\u00e7in. Oyunun ba\u015flar\u0131nda \u015fikayet etti\u011fi ( “.’\u015fu s\u0131rt\u0131mdaki entarinin rengi att\u0131.
D\u00f6rt y\u0131ld\u0131r onu giyiyorum. E bende insan\u0131m can\u0131m'”) sorunlardan birinin \u00e7\u00f6z\u00fcme kavu\u015fturulaca\u011f\u0131n\u0131n a\u00e7\u0131klanmas\u0131 bu umudumuzu destekler. Ancak yinede \u015funu s\u00f6ylemek gereklidir. Bu umut k\u0131smi ve y\u00fczeyseldir, \u00e7\u00fcnk\u00fc derinlikli yap\u0131sal
bir de\u011fi\u015fim ger\u00e7ekle\u015fmemi\u015ftir. Bu haliyle de\u011fi\u015fim s\u00f6zde kalma ihtimalini i\u00e7inde bar\u0131nd\u0131r\u0131r.<\/div>\n

<\/div>\n
Erkan K\u00fc\u00e7\u00fck<\/div>\n","protected":false},"excerpt":{"rendered":"

Fazilet eczanesi (1959). Taner’in ilk d\u00f6nem tiyatrosunun en olgun metnini olu\u015fturmaktad\u0131r. Oyun, yazar\u0131n toplum ele\u015ftirisini, ger\u00e7ek\u00e7i ve yan\u0131lsamac\u0131 tiyatro anlay\u0131\u015f\u0131 i\u00e7inde ve klasik olay kurgusunu kullanarak ortaya koydu\u011fu bir oyundur. \u0130lk kez 1960’ta \u0130stanbul Belediyesi \u015eehir tiyatrolar\u0131n\u0131n Ulvi Uraz’\u0131n sahnelemeleriyle sunulmu\u015ftur. Oyun Taner tiyatrosu i\u00e7in belirlenen \u00fc\u00e7 devir i\u00e7inde ilkinde yer almas\u0131na kar\u015f\u0131n ikinci devreye […]<\/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-297","post","type-post","status-publish","format-standard","category-tiyatro-kritikleri"],"yoast_head":"\nFazilet Eczanesi - 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\/fazilet-eczanesi\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fazilet Eczanesi\" \/>\n<meta property=\"og:description\" content=\"Fazilet eczanesi (1959). Taner’in ilk d\u00f6nem tiyatrosunun en olgun metnini olu\u015fturmaktad\u0131r. Oyun, yazar\u0131n toplum ele\u015ftirisini, ger\u00e7ek\u00e7i ve yan\u0131lsamac\u0131 tiyatro anlay\u0131\u015f\u0131 i\u00e7inde ve klasik olay kurgusunu kullanarak ortaya koydu\u011fu bir oyundur. \u0130lk kez 1960’ta \u0130stanbul Belediyesi \u015eehir tiyatrolar\u0131n\u0131n Ulvi Uraz’\u0131n sahnelemeleriyle sunulmu\u015ftur. 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