PSYCHOLOGICAL PLANE: SIGMUND FREUD’S SUBCONSCIOUS MIND IN SIMON STEPHENS’S “BLUEBIRD”

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dc.contributor.authorÖzata, Cüneyt
dc.contributor.departmentOthertr_TR
dc.contributor.facultyOthertr_TR
dc.date.accessioned2022-10-18T06:54:34Z
dc.date.available2022-10-18T06:54:34Z
dc.date.issued2021
dc.description.abstractFrom the rituals demonstrated with masks and nature-inspired costumes to epitomise supernatural beings to a church-based dramatization in the Early Middle Ages focusing solely on commemoration of Christ with a theatrical rite on Easter, or even to Shakespeare, where characters in disguise fill the scene at a time when Elizabethan notion of visceral force was replaced by intrigue, theatre has always been the shadow of a changing society. What, in fact, goes under a change is not the notion of theatre per se, but the idea of relating to people from all walks of life. In this sense, theatre, which has a structuring power that has managed to infiltrate deeply within the society, has sustained its existence in parallel with the developing and shifting social dynamics. For theatre, change is bound to happen if one retains his/her permanency. Theatre, which is in a continuous motion, allows interaction between the audience and the actor. Though the dimension of this interaction is multifaceted, one of the most broadly known is indubitably the reflection of Freud's concept of psychoanalysis on the characters of the play, which is based on the view that certain situations that take place in human consciousness and especially in the subconscious have a great role in their daily lives. Simon Stephens, who reflects this change and interaction to his works by going beyond the traditional understanding of theatre and by including the post-dramatic elements with music and abundant visuality, stands out as one of the important playwrights of contemporary British theatre in recent years. The play Bluebird (1998), which he wrote on a level reminiscent of the cinema scene, presents sections from the lives of postmodern individuals who are struggling to hold on to life in the grip of the developing and globalizing world, which Stephens himself personally experienced and observed. The author tries to reflect the psychological disorders of today's individuals and Freud's subconscious concept to the audience with his play Bluebird. This study deals with the characters in Stephens' Bluebird within the context of Sigmund Freud's personality theories.tr_TR
dc.description.indexTrdizintr_TR
dc.description.indexDiğertr_TR
dc.identifier.endpage582tr_TR
dc.identifier.issn/e-issn2459-0150
dc.identifier.issue1tr_TR
dc.identifier.startpage557tr_TR
dc.identifier.urihttps://doi.org/10.33171/dtcfjournal.2021.61.1.23tr_TR
dc.identifier.urihttp://hdl.handle.net/20.500.12575/84629
dc.identifier.volume61tr_TR
dc.language.isoentr_TR
dc.publisherAnkara Üniversitesitr_TR
dc.relation.isversionof10.33171/dtcfjournal.2021.61.1.23tr_TR
dc.relation.journalAnkara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi - DTCF Dergisitr_TR
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Başka Kurum Yazarıtr_TR
dc.subjectSimon Stephenstr_TR
dc.subjectSigmund Freudtr_TR
dc.subjectSubconscioustr_TR
dc.titlePSYCHOLOGICAL PLANE: SIGMUND FREUD’S SUBCONSCIOUS MIND IN SIMON STEPHENS’S “BLUEBIRD”tr_TR
dc.typeArticletr_TR

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