![](\"http:\/\/www.tr-security.com\/wp-content\/uploads\/yazar.jpg\")
<\/p>\n<\/p>\n
\u00c7a\u011fda\u015f Alman Edebiyat\u0131\u2019na giri\u015f i\u00e7in dayanak noktalar\u0131 ararken, \u015funu g\u00f6z\u00f6n\u00fcnde bulundural\u0131m: Bug\u00fcn edebiyat \u00fcr\u00fcnleri diye adland\u0131rd\u0131\u011f\u0131m\u0131z \u015feyler yaln\u0131zca yurt d\u0131\u015f\u0131nda bas\u0131l\u0131yor ve bunlar\u0131n t\u00fcm\u00fc d\u0131\u015farda okunuyor. B\u00f6ylece \u201chalk\u00e7\u0131l\u0131k\u201d kavram\u0131n\u0131n edebiyatta kullan\u0131m\u0131 garip bir anlam kazan\u0131yor. Yazar, birlikte ya\u015fayamad\u0131\u011f\u0131 halk\u0131 i\u00e7in yazmak zorunda.Asl\u0131nda, konuya biraz daha yak\u0131ndan bakarsak, yazarla halk\u0131n aras\u0131ndaki aral\u0131\u011f\u0131n o kadar da b\u00fcy\u00fck olmad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz. \u015eimdilerde bu aral\u0131k san\u0131ld\u0131\u011f\u0131 kadar b\u00fcy\u00fck de\u011fil, eskilerde ise bu aral\u0131k g\u00f6r\u00fcnd\u00fc\u011f\u00fc kadar k\u00fc\u00e7\u00fck de\u011fildi.<\/p>\n
Egemen olan estetik g\u00f6r\u00fc\u015f\u00fc, kitap fiyatlar\u0131 ve polis, yazarla halk aras\u0131na her zaman hat\u0131r\u0131 say\u0131l\u0131r bir uzakl\u0131k koymu\u015flard\u0131r.Ama uzakl\u0131\u011f\u0131n b\u00fcy\u00fcmesini yaln\u0131zca \u201cd\u0131\u015fsal\u201d bir olay bi\u00e7iminde g\u00f6zlemek yanl\u0131\u015f ve ger\u00e7ek\u00e7ili\u011fe ayk\u0131r\u0131. Bug\u00fcn halka d\u00f6n\u00fck bir bi\u00e7imde yazmak i\u00e7in ku\u015fkusuz \u00f6zel \u00e7abalar gerekli. Bunun yan\u0131nda halk\u00e7\u0131 yazmak kolayla\u015ft\u0131 ve zorunlulu\u011fa d\u00f6n\u00fc\u015ft\u00fc. Halk, yukar\u0131 tabakadan se\u00e7ilir bi\u00e7imde ayr\u0131ld\u0131, ezenler ve s\u00f6m\u00fcrenler a\u00e7\u0131kl\u0131\u011fa \u00e7\u0131kt\u0131, bu kimseler halkla g\u00f6zden uzak tutulamayacak olan kanl\u0131 bir sava\u015fa girdiler. Belirli bir saf\u2019a tutunmak ise kolayla\u015ft\u0131. \u201c\u0130nsanlar\u201d aras\u0131nda, denebilirse, a\u00e7\u0131k bir sava\u015f patlak verdi.
Ger\u00e7ek\u00e7i yaz\u0131\u015f tarz\u0131na gereksinme, bug\u00fcn \u00f6yle kolayca kulak arkas\u0131 edilemez. Bu konu apa\u00e7\u0131k ortada. Egemen s\u0131n\u0131flar yalana eskisinden fazla yak\u0131nl\u0131k g\u00f6steriyorlar, hem de usturuplu yalanlar bunlar. Ger\u00e7e\u011fi s\u00f6ylemek zorunlu bir g\u00f6revdir her zaman. Ac\u0131lar b\u00fcy\u00fcd\u00fc, ac\u0131 \u00e7ekenler \u00e7o\u011fald\u0131. Kitlelerin b\u00fcy\u00fck ac\u0131lar\u0131 yan\u0131nda k\u00fc\u00e7\u00fck zorluklarla u\u011fra\u015f\u0131lmas\u0131, k\u00fc\u00e7\u00fck gruplar\u0131n kar\u015f\u0131s\u0131na \u00e7\u0131kan zorluklarla ilgilenilmesi \u00e7ok g\u00fcl\u00fcn\u00e7, nefret uyand\u0131r\u0131c\u0131.<\/p>\n
Gittik\u00e7e artan barbarl\u0131\u011fa kar\u015f\u0131 tek dostumuz var: halk, barbarl\u0131\u011f\u0131n alt\u0131nda ezilen halk. Yaln\u0131zca ondan bir \u015fey beklenebilir. O zaman halka d\u00f6nmek ve olabildi\u011fi kadar onun diliyle konu\u015fmak her zamankinden daha \u00e7ok gerekli.
B\u00f6ylelikle \u201chalk\u00e7\u0131l\u0131k\u201d ve \u201cger\u00e7ek\u00e7ilik\u201d kavramlar\u0131 kayna\u015f\u0131yorlar. Geni\u015f, \u00e7al\u0131\u015fan kitlelerin dile\u011fi, edebiyat yoluyla ya\u015famdaki olaylar\u0131n ger\u00e7e\u011fe sad\u0131k bir bi\u00e7imde verilmesidir; olaylar\u0131n ger\u00e7e\u011fe sad\u0131k yans\u0131t\u0131lmas\u0131, halk, yani \u00e7al\u0131\u015fanlar yarar\u0131nad\u0131r; bu nedenle edebiyat halk i\u00e7in kesinlikle anla\u015f\u0131labilir ve verimli, yani halka d\u00f6n\u00fck olmal\u0131d\u0131r. Buna ra\u011fmen kimi \u00f6nerilerin i\u00e7inde kullan\u0131lacak ve eriyecek olan bu kavramlar\u0131n, \u00f6nerilerden \u00f6nce \u00f6zenli bir bi\u00e7imde ay\u0131klan\u0131p temizlenmesi gerekmektedir. Bu kavramlar\u0131, kesenkes a\u00e7\u0131klanm\u0131\u015f, tarihsellikten yoksun, a\u00e7\u0131k, temiz kavramlar diye ele almak yanl\u0131\u015ft\u0131r (\u201cBununla ne denmek istendi\u011fini hepimiz biliyoruz, k\u0131l\u0131 k\u0131rk yarmayal\u0131m\u201d). \u201cHalk\u00e7\u0131l\u0131k\u201d kavram\u0131n\u0131n kendisi tek ba\u015f\u0131na, fazlas\u0131yla halk\u00e7\u0131 de\u011fildir. Bunun tersine inanmak, ger\u00e7ek\u00e7ili\u011fe ters d\u00fc\u015fer. Sonu \u201cl\u0131k\u201d ekiyle biten bir dizi kavram dikkatle incelenmelidir. Bu arada akla hemen \u201cfaydac\u0131l\u0131k\u201d, \u201cegemenlik\u201d, \u201ckutsall\u0131k\u201d geliyor; \u201chalk\u00e7\u0131l\u0131k\u201d kavram\u0131n\u0131n da kendine \u00f6zg\u00fc, kutsal ve g\u00f6rkemli, ku\u015fku uyand\u0131r\u0131c\u0131 bir anlam\u0131 oldu\u011fu biliniyor, bu ger\u00e7e\u011fe kulaklar\u0131m\u0131z\u0131 t\u0131kayamay\u0131z.<\/p>\n
\u015eiirsel birtak\u0131m bi\u00e7imler i\u00e7inde \u201chalk\u201d, \u00f6zellikle bo\u015finan dolu ya da daha do\u011frusu bo\u015finanlar\u0131 diriltici bir unsur olarak yans\u0131t\u0131l\u0131r. Burada halk\u0131n de\u011fi\u015fmez \u00f6zellikleri vard\u0131r, kutsalla\u015ft\u0131r\u0131lm\u0131\u015f g\u00f6renekleri, sanat bi\u00e7imleri, t\u00f6releri, al\u0131\u015fkanl\u0131klar\u0131, dindarl\u0131\u011f\u0131, kal\u0131t\u0131msal d\u00fc\u015fmanlar\u0131, yenilmez g\u00fcc\u00fc, vb. Bunun yan\u0131nda i\u015fkence edenle i\u015fkence edilen, s\u00f6m\u00fcrenle s\u00f6m\u00fcr\u00fclen, yalan s\u00f6yleyenle yalan s\u00f6ylenen aras\u0131nda garip bir ayn\u0131l\u0131k g\u00f6ze \u00e7arpar ve hi\u00e7 bir zaman \u00e7al\u0131\u015fan, \u00e7ok say\u0131da \u201ck\u00fc\u00e7\u00fck\u201d insanla yukar\u0131dakilerin \u00e7eli\u015fkisi yans\u0131t\u0131lmaz.<\/p>\n
\u201cHalk\u00e7\u0131l\u0131k\u201d kavram\u0131 yoluyla ger\u00e7ekle\u015ftirilen bir\u00e7ok aldatmacan\u0131n uzun ve \u00e7apra\u015f\u0131k bir tarihi vard\u0131r, yani s\u0131n\u0131f \u00e7at\u0131\u015fmalar\u0131 tarihidir bu. Burada konuya derinlemesine inmek istemiyorum, ama halk\u00e7\u0131 sanat\u0131 gereksindi\u011fimizi s\u00f6ylerken ve bu arada azlar\u0131n ezdi\u011fi \u00e7oklardan, \u00fcretenler s\u0131n\u0131f\u0131ndan, uzun zaman politikan\u0131n nesnesi olmu\u015f, ama \u00f6znesi olmas\u0131 gereken \u201chalk\u0131n kendisi\u201dnden s\u00f6z ederken, geni\u015f halk kitlelerine y\u00f6nelik sanat\u0131 vurgularken bu aldatmacay\u0131 g\u00f6z \u00f6n\u00fcnde tutaca\u011f\u0131z. \u201cHalk\u201d\u0131n geli\u015fiminin uzun zamand\u0131r g\u00fc\u00e7l\u00fc kurumlar taraf\u0131ndan geri b\u0131rakt\u0131r\u0131ld\u0131\u011f\u0131n\u0131, gelenek ve g\u00f6rene\u011fin olu\u015fturdu\u011fu g\u00fc\u00e7le, yapay bi\u00e7imde a\u011fz\u0131n\u0131n t\u0131kand\u0131\u011f\u0131n\u0131 ve \u201chalk\u00e7\u0131l\u0131k\u201d kavram\u0131n\u0131n, tarihsellikten yoksun, dura\u011fan, hi\u00e7 geli\u015fmeyen bir kavram \u015fekline sokuldu\u011funu an\u0131msayal\u0131m. Kavram\u0131n bu bi\u00e7imi bizi ilgilendirmiyor, daha do\u011fru bir deyi\u015fle, kavram\u0131n bu anlam\u0131yla m\u00fccadele etmeliyiz.<\/p>\n
Tutundu\u011fumuz \u201chalk\u00e7\u0131\u201d kavram\u0131 yaln\u0131zca tarihsel geli\u015fmede tam rol alan halk anlam\u0131nda de\u011fil, geli\u015fimi kapan, zorlayan, belirleyen bir halk anlam\u0131nda ele al\u0131nmal\u0131d\u0131r. G\u00f6z\u00fcm\u00fcz\u00fcn \u00f6n\u00fcnde tarihi yapan, d\u00fcnyay\u0131 ve kendisini de\u011fi\u015ftiren bir halk bulunmal\u0131d\u0131r, yani sava\u015fan bir halk ve bunun t\u00fcrevi, sava\u015fan bir kavram: \u201chalk\u00e7\u0131\u201d.<\/p>\n
\u201cHalk\u00e7\u0131\u201d \u015fu anlama gelir: geni\u015f kitlelerce anla\u015f\u0131labilir olmak, halk\u0131n anlat\u0131m bi\u00e7imini almak ve zenginle\u015ftirmek \/ onlar\u0131n bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131 kabullenmek, ama kuvvetlendirerek ve d\u00fczelterek \/ halk\u0131n en ilerici b\u00f6l\u00fcm\u00fcn\u00fcn yan\u0131nda olmak, b\u00f6ylelikle y\u00f6netimin elde edilmesini sa\u011flamak, bunun sonucunda halk\u0131n di\u011fer kesimlerini ayd\u0131nlatmak \/ geleneklerle ba\u011flant\u0131y\u0131 tutmak, onlar\u0131 geli\u015ftirmek \/ y\u00f6netimi ele ge\u00e7irmeye \u00e7al\u0131\u015fan halk kesimine, bug\u00fcnk\u00fc y\u00f6neten kesimin elde ettiklerini iletmek.<\/p>\n
\u015eimdi \u201cger\u00e7ek\u00e7ilik\u201d kavram\u0131na gelelim. Bu eski, bir\u00e7ok ama\u00e7 i\u00e7in, bir\u00e7oklar\u0131 taraf\u0131ndan kullan\u0131lm\u0131\u015f kavram\u0131 kullanmadan \u00f6nce iyice bir g\u00f6zden ge\u00e7irmek zorunday\u0131z. Halk\u0131n miras\u0131n\u0131 almas\u0131 s\u00fcreci, m\u00fclk sahipli\u011finin ortadan kalkmas\u0131 s\u00fcreci i\u00e7inde ger\u00e7ekle\u015febildi\u011finden gerekli bu. Yaz\u0131nsal \u00fcr\u00fcnler fabrikalar gibi teslim al\u0131namaz, yaz\u0131nsal anlat\u0131m bi\u00e7imleri tek elden \u00e7\u0131kma re\u00e7eteler gibi el de\u011fi\u015ftiremez. Edebiyatta, ger\u00e7ek\u00e7i yazma bi\u00e7iminin de\u011fi\u015fik \u00f6rneklerini g\u00f6r\u00fcyoruz, bu de\u011fi\u015fikli\u011fi belirleyen, o yap\u0131t\u0131n hangi s\u0131n\u0131f i\u00e7in, nas\u0131l ve ne zaman yaz\u0131ld\u0131\u011f\u0131d\u0131r; bu, en ince ayr\u0131nt\u0131da bile sezinlenebilir. Sava\u015fan, ger\u00e7ekli\u011fi de\u011fi\u015ftiren halk\u0131 g\u00f6z \u00f6n\u00fcnde tutarak anlat\u0131m\u0131n \u201cdenenmi\u015f\u201d kurallar\u0131na, edebiyat\u0131n sayg\u0131n \u00f6rneklerine, s\u00fcr\u00fcp giden yaz\u0131nsal estetik yasalara tutunmamak zorunday\u0131z. Elimizdeki belirli yap\u0131tlardan ger\u00e7ek\u00e7ili\u011fi \u00e7ekip \u00e7\u0131karmamal\u0131, tersine ger\u00e7e\u011fi insanlara ustal\u0131kla ula\u015ft\u0131rmak i\u00e7in eski-yeni, denenmi\u015f ya da denenmemi\u015f, sanattan k\u00f6klenmi\u015f ya da herhangi bir yerden k\u00f6klenmi\u015f her t\u00fcrl\u00fc gereci kullanmal\u0131y\u0131z. Yaln\u0131zca belirli bir d\u00f6nemin belli tarihsel roman bi\u00e7imini ger\u00e7ek\u00e7i diye nitelemekten ka\u00e7\u0131naca\u011f\u0131z; \u00f6rnek olarak Balzac ya da Tolstoy\u2019u al\u0131rsak yaln\u0131zca, salt bi\u00e7imsel, salt yaz\u0131nsal kesin \u00f6l\u00e7\u00fctler koymu\u015f oluruz. \u00d6rne\u011fin \u201cher \u015feyi\u201d koklad\u0131\u011f\u0131m\u0131z, tatt\u0131\u011f\u0131m\u0131z, duydu\u011fumuz zaman bir \u201catmosfer\u201d olu\u015ftu\u011funda; olay \u00f6rg\u00fcs\u00fc, s\u00f6z konusu ki\u015filerin ruhsal durumlar\u0131n\u0131 b\u00f6yle a\u00e7\u0131kl\u0131yor diye hemen ger\u00e7ek\u00e7i yaz\u0131\u015f bi\u00e7iminden s\u00f6z etmeyece\u011fiz. Bizim \u201cger\u00e7ek\u00e7ilik kavram\u0131m\u0131z\u201d ise geni\u015f ve politik olmak, g\u00f6reneklere egemen olmak zorunda.<\/p>\n
\u201cGer\u00e7ek\u00e7ilik\u201d (1) \u015fu anlama gelir: toplumun nedensel karma\u015falar\u0131n\u0131 a\u00e7\u0131kl\u0131\u011fa \u00e7\u0131karmak \/ egemen bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131, egemen s\u0131n\u0131f\u0131n bak\u0131\u015f a\u00e7\u0131lar\u0131 \u015feklinde ortaya koymak \/ yenilmesi gerekli g\u00fc\u00e7l\u00fcklere kar\u015f\u0131 \u00e7\u00f6z\u00fcmler getirebilecek, insandan yana bir toplumu olu\u015fturabilecek bir s\u0131n\u0131f\u0131n a\u00e7\u0131s\u0131ndan sorunlara bakmak \/ geli\u015fmenin etmenlerini vurgulamak \/ somutu ve soyutlamay\u0131 olabilirle\u015ftirmek.<\/p>\n
Bunlar kal\u0131n \u00e7izgileriyle bir dizi \u00f6neri, bunlara ekler yap\u0131labilir. Ayr\u0131ca sanat\u00e7\u0131n\u0131n d\u00fc\u015f g\u00fcc\u00fcn\u00fc, \u00f6zg\u00fcnl\u00fc\u011f\u00fcn\u00fc, mizac\u0131n\u0131, yarat\u0131c\u0131 g\u00fcc\u00fcn\u00fc yap\u0131tlar\u0131na katmas\u0131na kar\u015f\u0131 \u00e7\u0131kmayaca\u011f\u0131z. Ayr\u0131nt\u0131lar\u0131yla sergilenmi\u015f yaz\u0131nsal modellere tutunmayaca\u011f\u0131z, anlat\u0131m\u0131n belirli \u015fekillerine tutunmas\u0131 i\u00e7in sanat\u00e7\u0131y\u0131 zorlamayaca\u011f\u0131z.<\/p>\n
Duyumsal (sensualistisch) yaz\u0131\u015f \u015fekli (her \u015feyin koklanabilece\u011fi, tad\u0131na bak\u0131labilece\u011fi, duyulabilece\u011fi yaz\u0131 \u015fekli) ger\u00e7ek\u00e7i yaz\u0131\u015f \u015fekliyle \u00f6zde\u015fle\u015ftirilemez, ger\u00e7ek\u00e7i olmayan duyumsal yap\u0131tlar\u0131n yan\u0131nda duyumsal olmayan ger\u00e7ek\u00e7i yap\u0131tlar\u0131n varl\u0131\u011f\u0131n\u0131 da kabullenece\u011fiz. Var\u0131lacak sonu\u00e7 a\u00e7\u0131s\u0131ndan, ki\u015filerin ruhsal a\u00e7\u0131klamas\u0131n\u0131n yap\u0131lmas\u0131n\u0131 ye\u011flersek, olay \u00f6rg\u00fcs\u00fc en iyi bi\u00e7imde kullan\u0131lm\u0131\u015f m\u0131d\u0131r, bunu inceden inceye ara\u015ft\u0131raca\u011f\u0131z. Kitaplar\u0131m\u0131zda ki kahramanlar\u0131n ruhsal heyecanlar\u0131n\u0131 do\u011frudan do\u011fruya payla\u015fan okurlar\u0131m\u0131z bir\u00e7ok sanat arac\u0131n\u0131n yan\u0131ltmas\u0131yla, olaylara yakla\u015fmak i\u00e7in anahtar bulamayacaklar. Balzac\u2019\u0131n, Tolstoy\u2019un bi\u00e7imlerini oldu\u011fu gibi al\u0131rsak, bu yazarlar\u0131n s\u0131k\u00e7a yapt\u0131\u011f\u0131 gibi okuyucuyu, halk\u0131 yorar\u0131z. Ger\u00e7ek\u00e7ilik salt bi\u00e7imsel bir sorun de\u011fildir. Bu ger\u00e7ek\u00e7ilerin yaz\u0131\u015f bi\u00e7imlerini kopya ederek ger\u00e7ek\u00e7i say\u0131lamay\u0131z.<\/p>\n
\u00c7\u00fcnk\u00fc zaman ak\u0131yor, zaten akmasayd\u0131, alt\u0131n masalarda oturmayanlar\u0131n durumu \u00e7ok k\u00f6t\u00fc olurdu. Y\u00f6ntemler eskiyor, uyar\u0131c\u0131lar k\u00f6rleniyor. Yeni yeni sorunlar \u00e7\u0131k\u0131yor ortaya, bunlar yeni y\u00f6ntemleri gerektiriyor. Ger\u00e7eklik de\u011fi\u015fiyor, buna ko\u015fut olarak ger\u00e7ekli\u011fi yans\u0131t\u0131\u015f bi\u00e7imi de de\u011fi\u015fiyor. Hi\u00e7ten hi\u00e7 \u00e7\u0131kar, yeni eskiden do\u011far, ama bunun i\u00e7in de yenidir.
Tepedeki bask\u0131c\u0131lar her d\u00f6nemde ayn\u0131 y\u00f6ntemlerle \u00e7al\u0131\u015fmazlar. Her d\u00f6nem i\u00e7in ayn\u0131 tarzda a\u00e7\u0131klanamazlar. G\u00f6ze batmama konusunda de\u011fi\u015fik y\u00f6ntemleri vard\u0131r. Askeri yollar\u0131, oto-yollara d\u00f6n\u00fc\u015ft\u00fcr\u00fcp, tanklar\u0131n\u0131 Macduff\u2019\u00fcn* orman\u0131 gibi g\u00f6stermek i\u00e7in boyarlar. Ajanlar\u0131 ise kendilerini i\u015f\u00e7i diye g\u00f6stermek i\u00e7in ellerindeki nas\u0131rlar\u0131 g\u00f6sterir. Hay\u0131r, avc\u0131y\u0131 yaban\u0131l hayvana d\u00f6n\u00fc\u015ft\u00fcrebilmek i\u00e7in yarat\u0131c\u0131l\u0131k gerekli. D\u00fcn halk\u00e7\u0131 olarak nitelenen, art\u0131k bug\u00fcn, halk\u00e7\u0131 say\u0131lamaz; \u00e7\u00fcnk\u00fc halk da d\u00fcnk\u00fc halk de\u011fil.<\/p>\n
Bi\u00e7imsel \u00f6nyarg\u0131larla dolup ta\u015fmayanlar ger\u00e7e\u011fin bir\u00e7ok \u015fekilde \u00f6rt\u00fclebilece\u011fini ve bir\u00e7ok \u015fekilde kapat\u0131labilece\u011fini bilirler. \u0130nsanl\u0131k d\u0131\u015f\u0131 durumlara kar\u015f\u0131 ba\u015fkald\u0131r\u0131 bir\u00e7ok yolla ger\u00e7ekle\u015ftirilebilir: Patetik ve nesnel tarzda do\u011frudan yap\u0131lan betimlemeyle, anlat\u0131 ve analojiyle, \u015fakalar yoluyla, abartmayla ve hafife almayla. Tiyatroda ger\u00e7ek\u00e7ilik nesnel ve fantastik bir bi\u00e7imde yans\u0131t\u0131labilir. Oyuncular makyaj yapmayarak (ya da pek az yaparak) kendilerini \u201c\u00e7ok tabi\u00ee\u201d g\u00f6sterebilirler, ama yine de oyunun t\u00fcm\u00fc sa\u00e7ma-sapan olabilir; oyuncular grotesk masklar takarak da ger\u00e7e\u011fi sergileyebilirler. \u00dczerinde tart\u0131\u015f\u0131lmayacak olan \u015fu: Gere\u00e7ler amaca g\u00f6re belirlenmelidir. Halk, gere\u00e7lerin amaca g\u00f6re belirlenip belirlenmedi\u011fini anlar. Klasik bi\u00e7imlerin s\u00fcrekli y\u0131k\u0131ld\u0131\u011f\u0131 Piscator\u2019un** tiyatro deneyleri (ve benimkiler) i\u015f\u00e7i s\u0131n\u0131f\u0131n\u0131n ileri kadrolar\u0131ndan destek g\u00f6rd\u00fc. Ger\u00e7e\u011fin, ger\u00e7ek toplumsal mekanizman\u0131n yans\u0131t\u0131lmas\u0131 i\u00e7in gerekli her t\u00fcrl\u00fc yenili\u011fi benimsiyorlard\u0131; ama teatral g\u00f6r\u00fcnen, yaln\u0131zca kendi g\u00fczelli\u011fi i\u00e7in kullan\u0131lm\u0131\u015f, yani hen\u00fcz amac\u0131n\u0131 ger\u00e7ekle\u015ftiremeyen ya da art\u0131k ger\u00e7ekle\u015ftiremeyecek olan her t\u00fcrl\u00fc arac\u0131 yads\u0131d\u0131lar. \u0130\u015f\u00e7ilerin savlar\u0131 hi\u00e7 bir zaman edebiyat veya tiyatro esteti\u011finin kal\u0131plar\u0131 i\u00e7inde de\u011fildi. Tiyatroyla filmin birbirine kar\u0131\u015ft\u0131r\u0131lmamas\u0131 gerekti\u011fini s\u00f6yleyen biri de \u00e7\u0131kmad\u0131. Film, oyun i\u00e7ine iyi yerle\u015ftirilemedi\u011finden, en \u00e7ok: filmin fazlal\u0131k oldu\u011fu, dikkati da\u011f\u0131taca\u011f\u0131 belirtildi. \u0130\u015f\u00e7i korolar\u0131 \u00e7apra\u015f\u0131k ritmli manzum par\u00e7alar okuyor (\u201cuyakl\u0131ysa su gibi gidiyor, hi\u00e7 bir \u015fey tak\u0131l\u0131 kalm\u0131yor\u201d) ve Eisler\u2019in *** zor (al\u0131\u015f\u0131lmam\u0131\u015f) kompozisyonlar\u0131n\u0131 (\u201cBu g\u00fc\u00e7 i\u015f…\u201d) s\u00f6yl\u00fcyorlard\u0131. Anlam\u0131n\u0131 yans\u0131tmayan ya da yanl\u0131\u015f olan baz\u0131 dizeleri de\u011fi\u015ftirmek zorunda kal\u0131yorduk. Kolay \u00f6\u011frenilsin diye uya\u011fa uydurulan, kolay s\u00f6ylensin diye basit bir ritm verilen y\u00fcr\u00fcy\u00fc\u015f \u015fark\u0131lar\u0131nda belirli incelikler vard\u0131 (d\u00fczensizlikler, \u00e7apra\u015f\u0131kl\u0131klar), bunu farkettiklerinde: \u201cBiraz g\u00fc\u00e7, ama e\u011flendirici,\u201d diyorlard\u0131. T\u00fckenmi\u015f, g\u00fcndelik olmu\u015f, yani art\u0131k al\u0131\u015f\u0131lm\u0131\u015f olan\u0131, art\u0131k \u00fczerinde d\u00fc\u015f\u00fcn\u00fclmeyecek olan\u0131 hi\u00e7 sevmiyorlard\u0131 (\u201cHi\u00e7 bir \u015fey vermiyor\u201d). Esteti\u011fe gereksinen biri onu burada bulabilirdi. Sovyet Rusya korosuna bir \u015fey eklememi \u00f6neren bir i\u015f\u00e7inin dile\u011fi \u00fczerine ekler yaparken (\u201cBu da eklenmeli – yoksa neye yarar?\u201d), ben: sanatsal bi\u00e7imi bozar dememe kar\u015f\u0131n, onun kafas\u0131n\u0131 e\u011fip g\u00fclerek bakmas\u0131n\u0131 hi\u00e7 unutmam. Bu sayg\u0131l\u0131 g\u00fcl\u00fcmsemeyle esteti\u011fin kocaman bir kanad\u0131 kopmu\u015ftu. \u0130\u015f\u00e7ilerin bize \u00f6\u011fretme konusunda korkular\u0131 yoktu, kendileri de \u00f6\u011frenmekten korkmuyorlard\u0131. Deneylerime dayanarak s\u00f6yl\u00fcyorum: Y\u00fcreklice, al\u0131\u015f\u0131lmam\u0131\u015f \u015feyleri i\u015f\u00e7ilere vermekten ka\u00e7\u0131nmay\u0131n, yeter ki ger\u00e7eklikle ilintisi bulunsun. Her zaman araya girerek: \u201cHalk bunlar\u0131 anlamaz,\u201d diyen k\u00fclt\u00fcrl\u00fc ki\u015filer, sanat uzmanlar\u0131 ortaya \u00e7\u0131kacakt\u0131r. Ama halk sab\u0131rs\u0131zcas\u0131na bu ki\u015fileri bir kenara itip, sanat\u00e7\u0131lar\u0131yla do\u011frudan bir ili\u015fkiye girecektir. Klikler i\u00e7in yap\u0131lm\u0131\u015f, klikleri olu\u015fturacak a\u015f\u0131lamalar yap\u0131l\u0131yor, \u015fapka iki bininci defa ba\u015fka bi\u00e7ime sokuluyor, bayat, \u00e7\u00fcr\u00fcm\u00fc\u015f et biberleniyor. \u0130\u015f\u00e7iler bunlar\u0131 inanmam\u0131\u015fl\u0131\u011f\u0131 vurgulayan ho\u015fg\u00f6r\u00fcl\u00fc bir ba\u015f sallay\u0131\u015fla geri \u00e7eviriyorlar (\u201cKorkular\u0131 var onlar\u0131n\u201d). Geri \u00e7evrilen biber de\u011fil, \u00e7\u00fcr\u00fcm\u00fc\u015f et; ayn\u0131 \u015fekilde \u015fapkan\u0131n iki bininci bi\u00e7imi de\u011fil geri \u00e7evrilen, tersine eski \u015fapka. Kendileri pek seyrek de olsa yaz\u0131p oynad\u0131klar\u0131nda ola\u011fan\u00fcst\u00fc \u00f6zg\u00fcn oluyorlar. \u201cAjitprop\u201d sanat\u0131 diye adland\u0131r\u0131lan, bir\u00e7o\u011funun \u00f6nemsemedi\u011fi bu sanat, yeni sanatsal gere\u00e7lerin ve anlat\u0131m \u015fekillerinin kaynakland\u0131\u011f\u0131 maden oca\u011f\u0131 sanki. Bu sanat, ger\u00e7ekten halk\u00e7\u0131 sanat devirlerinin \u00e7oktand\u0131r unutulmu\u015f \u00f6gelerini, hem de enine boyuna yeni toplumsal ama\u00e7lara g\u00f6re y\u00fcreklice uyarlay\u0131p ortaya \u00e7\u0131kard\u0131. Korkmadan yap\u0131lan k\u0131saltmalar ve yo\u011funla\u015ft\u0131rmalar (Komprimierung), basite indirgemeler g\u00f6ze \u00e7arp\u0131yor; ayr\u0131ca \u015fa\u015f\u0131rt\u0131c\u0131 inceliklere, anlamlara, karma\u015f\u0131k sorunlara cesur yakla\u015f\u0131mlara rastlan\u0131yor. Baz\u0131s\u0131 ilkel olabilir, ama bu, burjuva sanat\u0131n\u0131n g\u00f6r\u00fcn\u00fcrdeki duyarl\u0131kl\u0131 ruhsal manzaralar\u0131 benzeri bir ilkellik de\u011fil. Asal\u0131 sergilemek, soyutlamay\u0131 ger\u00e7ekle\u015ftirebilmek i\u00e7in (\u00e7o\u011fu kez ba\u015far\u0131 dolu \u00e7abalar g\u00f6r\u00fcl\u00fcyor) \u00e7al\u0131\u015fan, ama birka\u00e7 ba\u015far\u0131s\u0131zl\u0131\u011f\u0131 y\u00fcz\u00fcnden bir anlat\u0131m bi\u00e7imini atmak tutarl\u0131l\u0131k de\u011fil bence. \u0130\u015f\u00e7inin keskin g\u00f6z\u00fc, saf ger\u00e7eklik ta\u015f\u0131yan yans\u0131malar\u0131 delip ge\u00e7iyor. \u201cFuhrmann Henschel\u201dde (\u201cS\u00fcr\u00fcc\u00fc Henschel\u201d) i\u015f\u00e7iler yap\u0131lan ruh \u00e7\u00f6z\u00fcmlemesi konusunda: \u201cBunu bu kadar ayr\u0131nt\u0131l\u0131 bilmek istemiyoruz,\u201d derken, g\u00f6r\u00fcn\u00fcrdeki y\u00fczeyin alt\u0131nda yatan toplumsal g\u00fc\u00e7lerin daha ayr\u0131nt\u0131l\u0131 ortaya konmas\u0131n\u0131 diliyorlard\u0131. Kendi deneylerimi katay\u0131m yine: \u201c\u00dc\u00e7 Kuru\u015fluk Opera\u201d**** daki fantastik giysilere, g\u00f6r\u00fcn\u00fcrde ger\u00e7ek d\u0131\u015f\u0131 ortama kar\u015f\u0131 \u00e7\u0131kmam\u0131\u015flard\u0131. Dar g\u00f6r\u00fc\u015fl\u00fc de\u011fillerdi, dar alandan nefret ediyorlard\u0131 (evleri de dard\u0131). Onlar\u0131n eli \u00e7ok a\u00e7\u0131kt\u0131, buna kar\u015f\u0131n oyunlar\u0131 d\u00fczenleyenler olduk\u00e7a cimriydiler. Sanat\u00e7\u0131lar\u0131n \u00f6nerdi\u011fi birka\u00e7 \u015feyi gereksiz bulmu\u015flard\u0131, ama yine de geni\u015f g\u00f6r\u00fc\u015fl\u00fc davranm\u0131\u015flard\u0131. A\u015f\u0131r\u0131l\u0131\u011fa kar\u015f\u0131 de\u011fildiler, tersine fazlal\u0131\u011fa kar\u015f\u0131yd\u0131lar. De\u011firmeni \u00e7eviren \u00f6k\u00fcz\u00fcn a\u011fz\u0131n\u0131 kapatm\u0131yorlard\u0131, tam tersi onu de\u011firmeni d\u00f6nd\u00fcr\u00fcrken izliyorlard\u0131. \u201c\u015eu\u201d ya da \u201cbu\u201d y\u00f6ntem diye bir \u015feye inanm\u0131yorlard\u0131. Ama\u00e7lar\u0131na ula\u015fmak i\u00e7in bir\u00e7ok y\u00f6nteme gereksinilece\u011fini biliyorlard\u0131.<\/p>\n
Halk\u00e7\u0131l\u0131k ve ger\u00e7ek\u00e7ilik i\u00e7in \u00f6l\u00e7\u00fctler saptarken, geni\u015f ufuklu olaca\u011f\u0131z, \u00e7ok da dikkatli. \u00c7ok\u00e7a yap\u0131ld\u0131\u011f\u0131 gibi bu \u00f6l\u00e7\u00fctleri yaln\u0131zca elimizdeki ger\u00e7ek\u00e7i ve halk\u00e7\u0131 yap\u0131tlardan \u00e7\u0131karmayaca\u011f\u0131z. Bu yol izlenerek bi\u00e7imsel \u00f6l\u00e7\u00fctlere var\u0131labilir ancak ve bi\u00e7imsel bir halk\u00e7\u0131l\u0131k ve ger\u00e7ek\u00e7ili\u011fe tabi\u00ee.<\/p>\n
Bir yap\u0131t\u0131n ger\u00e7ek\u00e7i olup olmad\u0131\u011f\u0131, elimizdeki ger\u00e7ek\u00e7i diye nitelendirilen, d\u00f6nemlerinde ger\u00e7ek\u00e7i diye bilinen yap\u0131tlara benzeyip benzememesiyle belirlenemez. Her \u00f6zel durumda, ya\u015fam\u0131n betimlenmesini (ba\u015fka bir betimleme yerine) o yap\u0131tta betimlenen ger\u00e7ek ya\u015famla kar\u015f\u0131la\u015ft\u0131rmak gerek. Halk\u00e7\u0131l\u0131\u011fa ili\u015fkin, son derece bi\u00e7imci bir s\u00fcre\u00e7 var dikkat edilmesi gereken. Yaz\u0131nsal bir yap\u0131t\u0131n anla\u015f\u0131labilirli\u011fi, yaln\u0131zca o yap\u0131t\u0131n anla\u015f\u0131lm\u0131\u015f \u00f6b\u00fcr yap\u0131tlara benzer bir bi\u00e7imde kaleme al\u0131nmas\u0131yla ortaya konamaz. Bu anla\u015f\u0131lm\u0131\u015f yap\u0131tlar da t\u0131pat\u0131p kendilerinden \u00f6nceki yap\u0131tlar gibi yaz\u0131lmam\u0131\u015flard\u0131 her halde. Anla\u015f\u0131labilmeleri i\u00e7in bir \u015feyler yap\u0131lm\u0131\u015ft\u0131. Biz yeni yap\u0131tlar\u0131n anla\u015f\u0131labilirlikleri i\u00e7in \u00e7aba g\u00f6stermeliyiz. Yaln\u0131zca \u201chalk\u00e7\u0131 olma\u201d diye bir \u015fey yok, bir de \u201chalk\u00e7\u0131 olma s\u00fcreci\u201d var.<\/p>\n
Ya\u015fayan, kavgac\u0131, t\u00fcm\u00fcyle ger\u00e7eklik taraf\u0131ndan kavranan, t\u00fcm\u00fcyle ger\u00e7ekli\u011fi kavrayan, ger\u00e7ekten halk\u00e7\u0131 bir edebiyat istiyorsak ger\u00e7ekli\u011fin h\u0131zl\u0131 geli\u015fmesine ayak uydurmak zorunday\u0131z. \u00c7al\u0131\u015fan, b\u00fcy\u00fck halk kitleleri harekete ge\u00e7mi\u015f durumda. D\u00fc\u015fmanlar\u0131n\u0131n eylemleri ve canavarl\u0131klar\u0131 bunu kan\u0131tl\u0131yor.
1938<\/p>\n
HALK\u00c7ILIK VE GER\u00c7EK\u00c7\u0130L\u0130\u011eE [EK]<\/p>\n
1. Halka D\u00f6n\u00fck Olma
Yurt d\u0131\u015f\u0131nda ya\u015fayan edebiyat\u00e7\u0131lar\u0131n bir b\u00f6l\u00fcm\u00fc (ka\u00e7m\u0131\u015f, kovulmu\u015f, ayr\u0131lm\u0131\u015f olanlar) h\u00e2l\u00e2 \u0131srarla burjuva s\u0131n\u0131f\u0131na y\u00f6neliyorlar. \u0130nsanc\u0131l (h\u00fcmanist) \u00fclk\u00fclerin y\u0131k\u0131l\u0131\u015f\u0131n\u0131 anlat\u0131yorlar, asl\u0131nda barbarl\u0131ktan s\u00f6z etmeleri de barbarl\u0131\u011f\u0131n yarar\u0131na. Ara-s\u0131ra insanc\u0131ll\u0131ktan uzak \u00f6nlemlerin belirli kazan\u00e7lara, kasa \u00e7\u0131karlar\u0131na ba\u011fl\u0131 oldu\u011funu belirtiyorlar. Bunu s\u00f6yl\u00fcyorlar da, insanc\u0131l \u00fclk\u00fclerin bir kenara at\u0131lmas\u0131n\u0131n, burjuva s\u0131n\u0131f\u0131 m\u00fclkiyet ili\u015fkilerinin korunmas\u0131na yarad\u0131\u011f\u0131n\u0131 s\u00f6ylemiyorlar. Bu insanl\u0131k d\u0131\u015f\u0131 \u00f6nlemler al\u0131nmadan da, biraz iyilikle, \u00f6zg\u00fcrl\u00fckle, insanl\u0131kla m\u00fclkiyet ili\u015fkilerinin korunabilece\u011fine burjuvaziyi inand\u0131rmaya \u00e7al\u0131\u015f\u0131yorlar. Halk bu t\u00fcr safdillikleri \u00e7ok g\u00fcl\u00fcn\u00e7 bulur herhalde. Bence s\u00f6m\u00fcr\u00fcy\u00fc ayakta tutmak i\u00e7in ne kadar bask\u0131 yap\u0131lmas\u0131 gerekti\u011fini a\u00e7\u0131klayan bir g\u00f6r\u00fc\u015fe daha \u00e7ok inan\u0131rd\u0131 halk. Ayr\u0131ca bunun sava\u015fla m\u0131, sava\u015fs\u0131z m\u0131, insanc\u0131l bir sava\u015fla m\u0131, yoksa insanl\u0131k d\u0131\u015f\u0131 bir sava\u015fla m\u0131 vb. ger\u00e7ekle\u015ftirilebilece\u011fini saptayan bir g\u00f6r\u00fc\u015f daha inand\u0131r\u0131c\u0131 olurdu. \u201c\u0130nsanl\u0131k i\u00e7in!\u201d slogan\u0131 \u201cburjuva m\u00fclkiyet ili\u015fkilerine son!\u201d slogan\u0131yla tamamlanmad\u0131\u011f\u0131 s\u00fcrece edebiyat\u0131n halka d\u00f6n\u00fckl\u00fc\u011f\u00fcnden s\u00f6z edilemez.<\/p>\n
2. Belirli Bir D\u00f6nem
Var\u0131lacak yarg\u0131ya belirli bir ba\u015flang\u0131\u00e7 getirebilmek i\u00e7in, yarg\u0131ya konu olan olaylar\u0131n ne zaman kar\u015f\u0131m\u0131za \u00e7\u0131kt\u0131klar\u0131n\u0131n da belirtilmesi gerekli. Bir deniz sava\u015f\u0131n\u0131n patlad\u0131\u011f\u0131 s\u0131rada, geminin sulara g\u00f6m\u00fclmeye \u00e7oktan ba\u015flad\u0131\u011f\u0131 bir anda, tutup da, gemide duvarlara belirli resimleri asmaya \u00e7al\u0131\u015fmak ku\u015fkusuz budalal\u0131k olur. Ama ger\u00e7ek bat\u0131\u015f an\u0131nda bile, bu g\u00f6r\u00fcn\u00fcm\u00fc s\u00fcrd\u00fcrebilmek i\u00e7in resimler tasarlayan, resimler yapan sanat\u00e7\u0131larla kar\u015f\u0131la\u015f\u0131yoruz.<\/p>\n
3. Herkese Y\u00f6nelik Olma
Halk i\u00e7in edebiyat \u00f6zleniyorsa, sanatsal yap\u0131tlar\u0131n g\u00f6ren herkes taraf\u0131ndan anla\u015f\u0131labilir olmas\u0131n\u0131n bir zorunluk oldu\u011funu \u00f6ne s\u00fcrmeye gerek yoktur. Halk yaz\u0131nsal eserlere bir\u00e7ok bi\u00e7imde yakla\u015fabilir; \u00e7abuk kavrayan ve kavrad\u0131klar\u0131 \u015feyleri \u00e7evreye yayan k\u00fc\u00e7\u00fck gruplar halinde yakla\u015fabilir \u00f6rne\u011fin yaz\u0131nsal eserlere; ya da halk, s\u00f6z konusu eserlerin i\u00e7inde hemen anlad\u0131\u011f\u0131 \u015feylerin, ba\u015flang\u0131\u00e7ta anlayamad\u0131\u011f\u0131 \u015feylerle olan ili\u015fkilerini sonu\u00e7 \u00e7\u0131karma yoluyla kurarak, eserin t\u00fcm\u00fcn\u00fc kavrayabilir. K\u00fc\u00e7\u00fck gruplar i\u00e7in yazmak halka kulak asmamak anlam\u0131na gelmez. Bu, o gruplar\u0131n halk\u0131n \u00e7\u0131karlar\u0131na m\u0131 hizmet ettiklerine, yoksa halka kar\u015f\u0131 m\u0131 \u00e7al\u0131\u015ft\u0131klar\u0131na ba\u011fl\u0131d\u0131r. Halk\u0131n \u00e7\u0131karlar\u0131na kar\u015f\u0131 \u00e7aba harcayanlardan bir \u00f6rnek \u00e7\u0131kt\u0131 kar\u015f\u0131m\u0131za; yaln\u0131zca kendi durumlar\u0131n\u0131 korumak amac\u0131na hizmet eden ve bu ama\u00e7 i\u00e7in tekeller kuran (yaz\u0131nsal tekeller bunlar) birtak\u0131m kapal\u0131 \u00e7evreler g\u00f6rd\u00fck. F\u0131rt\u0131na bu soy k\u00fcmelenmeleri silip s\u00fcp\u00fcrmelidir.<\/p>\n
4. Tepeden \u0130nme Halk\u00e7\u0131l\u0131k
Kavramda hi\u00e7 ku\u015fkusuz bir kibirlilik var. Sanki yukardan bakarak a\u015fa\u011f\u0131 do\u011fru s\u00f6yleniyor. Halk\u00e7\u0131l\u0131k kavram\u0131nda, olabildi\u011fi kadar bir sadele\u015ftirme \u00f6nerisi gizli sanki. Halk i\u00e7in bir \u015feyler yap\u0131lmal\u0131, havyar\u0131 b\u0131rakal\u0131m! Halk\u0131n biraz kal\u0131n kafal\u0131 oldu\u011fu s\u00f6yleniyor. Halk biraz geri kalm\u0131\u015ft\u0131r. O her \u015feyi al\u0131\u015ft\u0131\u011f\u0131 bi\u00e7imde ister. Zor \u00f6\u011frenir, yeniye yatk\u0131n de\u011fildir. Danimarka\u2019l\u0131 emek\u00e7i yanl\u0131s\u0131 yazar Henry Jul Andersen***** tutsak zincirlerini and\u0131ran al\u0131\u015fkanl\u0131klardan s\u00f6z eden bir \u015fiir yazm\u0131\u015f. Bu yukardan bakan \u201chalk\u00e7\u0131\u201d kavram\u0131yla i\u015fimiz yok. Halk\u00e7\u0131 yazma bi\u00e7imsel bir sorun de\u011fil ki.<\/p>\n
5. \u015eairler, Halk\u0131n Dile Gelme Ara\u00e7lar\u0131
Halk\u0131n dile gelme ara\u00e7lar\u0131 olarak kulland\u0131\u011f\u0131 kimi \u015fairlerden istedi\u011fi kendi a\u011fz\u0131na bak\u0131lmas\u0131, ama duda\u011f\u0131n\u0131n k\u0131p\u0131rt\u0131lar\u0131n\u0131n t\u0131pa t\u0131p yans\u0131t\u0131lmas\u0131 de\u011fil. En \u00e7\u0131pla\u011f\u0131ndan en ya\u015fayan\u0131na, en zor se\u00e7ilebilir olan\u0131na kadar t\u00fcm isterlerinin karma\u015fas\u0131na e\u011filinmesini ister halk. Roman bi\u00e7imi halk\u0131 pek ilgilendirmiyor, ama devlet bi\u00e7imi ilgilendiriyor. Halk tutucu de\u011fildir. Geleneklerin s\u00fcrd\u00fcr\u00fclmesi halka pek \u00f6yle kutsal bir g\u00f6revmi\u015f gibi gelmiyor, kutsal olmayan y\u00f6ntemlerle y\u00fcr\u00fct\u00fcl\u00fcyor bu i\u015f.<\/p>\n
HALK\u00c7I EDEB\u0130YAT
Yaz\u0131nsal bir yap\u0131t\u0131n halka d\u00f6n\u00fck olup olmad\u0131\u011f\u0131 sorusu bence bi\u00e7imsel bir nitelik ta\u015f\u0131m\u0131yor. Halk taraf\u0131ndan anla\u015f\u0131labilmek i\u00e7in al\u0131\u015f\u0131lmam\u0131\u015f dile getiri\u015f bi\u00e7imlerini bir kenara at\u0131p, bunun yerine bilinen bak\u0131\u015f a\u00e7\u0131lar\u0131ndan halka seslenmek diye bir \u015fey d\u00fc\u015f\u00fcn\u00fclemez. Halk\u0131n al\u0131\u015fkanl\u0131klar\u0131n\u0131 (burada okuma al\u0131\u015fkanl\u0131\u011f\u0131) diktat\u00f6rce y\u00f6ntemlerle belirlemek halk\u0131n yarar\u0131na de\u011fildir. Halk, \u00e7\u0131karlar\u0131 s\u00f6z konusu olunca y\u00fcrekli dile getiri\u015fleri anlar, yeni bak\u0131\u015f a\u00e7\u0131lar\u0131n\u0131 onaylar, bi\u00e7imsel zorluklar\u0131n \u00fcstesinden gelmeyi ba\u015far\u0131r. Marks\u2019\u0131 Hegel\u2019den daha iyi anlar, Hegel\u2019i ise marksist bir \u00f6\u011fretimde anlayabilir ancak. Rilke halka d\u00f6n\u00fck de\u011fil; bunu kan\u0131tlamak i\u00e7in, onun en kar\u0131\u015f\u0131k, bi\u00e7im konusunda doru\u011fa ula\u015fm\u0131\u015f \u015fiirlerine g\u00f6z atmaya gerek yok; halk \u015fark\u0131s\u0131 niteli\u011findeki \u015fiirleri bile halka d\u00f6n\u00fck de\u011fil. Luk\u00e1cs bunu \u00e7ok iyi sergileyen bir d\u00f6rtl\u00fc\u011f\u00fc g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131karm\u0131\u015f (\u201cOnu ac\u0131lar sard\u0131\u011f\u0131nda\u201d); bi\u00e7imsel bir anla\u015f\u0131l\u0131rl\u0131k i\u00e7inde bu d\u00f6rtl\u00fck, Mayakovski\u2019ninkilerden****** daha bir anla\u015f\u0131labilir bi\u00e7imde. Ama halk\u0131n mant\u0131k diye adland\u0131rd\u0131\u011f\u0131 \u015feyi i\u00e7ermiyor. Bi\u00e7imci, \u00e7\u00fcnk\u00fc ac\u0131ma dolu bir ses tonuyla canavarl\u0131ktan s\u00f6z ediliyor, su\u00e7lulara ac\u0131n\u0131yor. Burada duyulan \u00fcz\u00fcnt\u00fc, sanki herkes buna kat\u0131l\u0131yormu\u015f gibi dile getiriliyor. K\u00e2\u011f\u0131t \u00fczerinde bi\u00e7imsel olarak \u00f6ylesine bir bi\u00e7im se\u00e7iliyor ve estetik bir p\u00fcf noktas\u0131 yakalanarak \u00f6ylesine bir izlenim yarat\u0131l\u0131yor ki, halk bunu \u015fark\u0131 \u015feklinde s\u00f6yleyebilir, yani b\u00f6ylesini d\u00fc\u015f\u00fcnebilir, duyabilir san\u0131l\u0131yor. Halk b\u00f6yle duyar ve d\u00fc\u015f\u00fcn\u00fcrse kendi \u00e7\u0131karlar\u0131n\u0131 baltalar. Ayn\u0131 \u015fairlerin \u201c\u00e7apra\u015f\u0131k\u201d, \u201cg\u00fc\u00e7\u201d diye nitelenen \u00f6teki \u015fiirlerinde de bu halka kar\u015f\u0131 tavr\u0131 g\u00f6rebiliriz, yaln\u0131z ba\u015fka bi\u00e7imlerde. Bu yap\u0131tlarda baya\u011f\u0131l\u0131ktan z\u00fcppeli\u011fe do\u011fru bir ka\u00e7\u0131\u015f sezinleniyor. Hi\u00e7 bir \u015feyden bir \u015fey yarat\u0131lmaya \u00e7al\u0131\u015f\u0131l\u0131yor. \u00d6z a\u00e7\u0131s\u0131ndan hi\u00e7 bir de\u011feri yok bu yap\u0131tlar\u0131n, bi\u00e7im a\u00e7\u0131s\u0131ndan ise bir \u015feyler var. \u00d6z a\u00e7\u0131s\u0131ndan kesinlikle eskiye dayan\u0131rken, bi\u00e7imsel birtak\u0131m yenilikler g\u00f6r\u00fcl\u00fcyor. Bu \u015fiirler, anla\u015f\u0131labilir de olsalar, anla\u015f\u0131lamaz da olsalar \u201chalka hi\u00e7 bir \u015fey vermiyor\u201d.<\/p>\n
NOTLAR
(1) Bence ger\u00e7ek\u00e7ilik kuram\u0131n\u0131n biraz dar bir tan\u0131m\u0131n\u0131 yapsalar da, bu kavram\u0131 a\u00e7\u0131klayan \u00e7ok ilgi \u00e7ekici yaz\u0131lar\u0131 i\u00e7in \u201cDas Wort\u201d G. Lukacs\u2019a te\u015fekk\u00fcr eder. (Bertolt Brecht)
*Macduff: Shakespeare\u2019in \u201cMacbeth\u201d tragedyas\u0131n\u0131n ki\u015filerinden biri. Malcolm, \u201cHer asker bir dal kesip tutsun ba\u015f\u0131na: \/ \u00d6yle y\u00fcr\u00fcyelim ki say\u0131m\u0131z belli olmas\u0131n; \/ Yanl\u0131\u015f haber g\u00f6t\u00fcrs\u00fcn d\u00fc\u015fman g\u00f6zc\u00fcleri.\u201d diye \u00f6nerir. Bunun \u00fczerine Macduff\u2019\u00fcn askerleri Birman orman\u0131n\u0131n a\u011fa\u00e7lar\u0131ndan yararlan\u0131rlar.
**Erwin Piscator: (1893 1966) Alman tiyatro y\u00f6netmeni. Tiyatronun toplumcu ak\u0131ma y\u00f6nelik olmas\u0131n\u0131 istiyordu. 1920\u2019den sonra \u201cproletarya tiyatrosu\u201dnun kurucular\u0131ndan oldu. Devrimci tiyatroyu bir tek i\u015f\u00e7ilerin ger\u00e7ekle\u015ftirebilece\u011fini belirtti. Tiyatroya sineman\u0131n olanaklar\u0131n\u0131 kazand\u0131rmay\u0131 denedi. 1925\u2019te bu konuda ilk ad\u0131m\u0131 att\u0131. Arka planda, sahnelenen oyunu zenginle\u015ftirmek amac\u0131yla bir film g\u00f6steriliyordu… \u201cPolitik Tiyatro\u201d (1929) adl\u0131 eserinde \u00e7a\u011fda\u015f tiyatronun mutlaka politik nitelik ta\u015f\u0131mas\u0131 gereklili\u011fine de\u011findi. Belgesel \u00e7al\u0131\u015fmalar\u0131 tiyatroda da de\u011ferlendirdi.
Sava\u015f y\u0131llar\u0131nda Amerika\u2019ya ge\u00e7ti. Brecht, kimi \u00e7al\u0131\u015fmalar\u0131nda Piscator\u2019dan yararlanm\u0131\u015ft\u0131r. Epik\u2019in geli\u015ftirilmesinde onun deneylerini g\u00f6zden uzak tutmam\u0131\u015ft\u0131r.
***Hans Eisler: (1898 – 1962) Alman bestecisi. Do\u011fu Berlin\u2019e yerle\u015ftikten sonra Brecht\u2019le \u00e7al\u0131\u015fmaya ba\u015flad\u0131. Koro m\u00fczi\u011fi \u00e7al\u0131\u015fmalar\u0131nda \u00fcslubu iyice yal\u0131nla\u015ft\u0131. Halk ezgilerinden yararlan\u0131rken, \u00e7a\u011fda\u015f yorumlara y\u00f6neldi. Epik tiyatroda, m\u00fczi\u011fin metni peki\u015ftirmek yerine, yorumlamas\u0131; s\u00fcslemek, zenginle\u015ftirmek yerine metinden yabanc\u0131la\u015fmas\u0131 ve davran\u0131\u015flar\u0131, hareketleri vermesi ilkelerini savundu.
****\u00dc\u00e7 Kuru\u015fluk Opera: Brecht\u2019in Gay\u2019den bir uyarlamas\u0131. \u0130lk kez 31.8.1928\u2019de Berlin\u2019de oynanm\u0131\u015ft\u0131r. Brecht, devrimci bildirisini iletirken m\u00fczikten, Wilon\u2019un ve Kipling\u2019in \u015fiirlerinden de yararlanm\u0131\u015ft\u0131r.
*****Henry Jul Andersen: (1869 – 1954) Danimarkal\u0131 yazar. Bir i\u015f\u00e7i ailesinin \u00e7ocu\u011fu olan Andersen, daha \u00e7ok Zola\u2019n\u0131n etkisinde kalm\u0131\u015ft\u0131r.
******Vladimir Vladimirovi\u00e7 Mayakovski: (1893 – 1930) Sovyet \u015fairi. \u015eiirlerinde serbest \u00f6l\u00e7\u00fcy\u00fc \u00e7ok b\u00fcy\u00fck bir ba\u015far\u0131yla kulland\u0131. Yar\u0131m uyak, eksilti s\u00f6yleyi\u015f ara\u00e7lar\u0131 aras\u0131nda say\u0131labilir. Devrimci \u015fiirin ustalar\u0131ndan biridir.<\/p>\n
Kaynak:Marksist leninist K\u00fct\u00fcphane<\/p>\n","protected":false},"excerpt":{"rendered":"
\u00c7a\u011fda\u015f Alman Edebiyat\u0131\u2019na giri\u015f i\u00e7in dayanak noktalar\u0131 ararken, \u015funu g\u00f6z\u00f6n\u00fcnde bulundural\u0131m: Bug\u00fcn edebiyat \u00fcr\u00fcnleri diye adland\u0131rd\u0131\u011f\u0131m\u0131z \u015feyler yaln\u0131zca yurt d\u0131\u015f\u0131nda bas\u0131l\u0131yor ve bunlar\u0131n t\u00fcm\u00fc d\u0131\u015farda okunuyor. B\u00f6ylece \u201chalk\u00e7\u0131l\u0131k\u201d kavram\u0131n\u0131n edebiyatta kullan\u0131m\u0131 garip bir anlam kazan\u0131yor. Yazar, birlikte ya\u015fayamad\u0131\u011f\u0131 halk\u0131 i\u00e7in yazmak zorunda.Asl\u0131nda, konuya biraz daha yak\u0131ndan bakarsak, yazarla halk\u0131n aras\u0131ndaki aral\u0131\u011f\u0131n o kadar da b\u00fcy\u00fck […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[134],"tags":[],"class_list":{"0":"post-4092","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-kuram"},"yoast_head":"\n