Transformative Potential and Utopian Performative: Postdramatic Hamlet in Turkey

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DOI:

https://doi.org/10.18778/2083-8530.26.05
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Keywords:

utopian performative, postdramatic Hamlet in Turkey, postdramatic theatre, Jill Dolan, Hans Thies-Lehmann

Abstract

Turkey is among those Non-Anglophone countries which have had a keen interest in Shakespeare and his plays for over two hundred years. When it comes to the staging of Shakespeare in Turkey, especially when protagonists or leading roles are considered, “overacting” is one of the most notable techniques highlighting, presumably, the spirit of the Renaissance and Jacobean times. Still, in recent years, there have been some productions which try to challenge and deconstruct the traditional ways of staging a Shakespearean play. One of such productions is Hamlet of Istanbul State Theatre, directed by Işıl Kasapoğlu in 2014, in which the director makes use of postdramatic theatre techniques. As the play begins, the audience sees a huge red jewel box which has been placed onto the centre of the stage. Soon after it is opened, it becomes clear that the character coming out of the box is playing and enacting not only the role of Hamlet but also many other roles in the play. Disrupting the habitual Shakespearean staging which heavily relies on mimesis in a closed “fictive cosmos” (Lehmann 22), the production, more strikingly, allows for an innovative Shakespearean acting as an innovative Shakespearean acting possible as the actor acts out all the major roles, such as Hamlet, Claudius, Gertrude, Ophelia, Polonius, etc., in such various ways as holding dummies in his hands and enacting their roles in monologues and dialogues. Fusing Hans-Thies Lehmann’s theory of postdramatic theatre with Jill Dolan’s argumentation on utopian performative, this study will investigate how postdramatic theatre techniques challenge the traditional Shakespearean performance and contends that postdramatic theatre techniques used in Kasapoğlu’s Hamlet contribute to the utopian performative and the possibility of creating a utopian impulse in the audience. The paper thus will claim that postdramatic performance of Hamlet renders a utopian performative possible by presenting a transformative potential in the audience members which engages in our present moment.

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Author Biography

Sibel İzmir, Atılım University, Turkey

Sibel Izmir is Asst. Prof. Dr. at Atılım University, Turkey. She completed her B.A. and M.A. in English Language and Literature at Ankara University/Turkey. She received her Ph.D. in English Culture and Literature in 2014 from Atılım University, where she has also been teaching as a Faculty Member and acting as the Vice Dean of Faculty of Arts and Sciences. Her Ph.D. dissertation is entitled “Postdramatic Tendencies on the British Stage: The Plays of Mark Ravenhill.” She has publications in national and international journals. Her research interests include Shakespeare studies, contemporary British drama, performance studies and postdramatic theatre.

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Published

2022-12-30 — Updated on 2023-12-20

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How to Cite

İzmir, S. (2023). Transformative Potential and Utopian Performative: Postdramatic Hamlet in Turkey. Multicultural Shakespeare: Translation, Appropriation and Performance, 26(41), 71–85. https://doi.org/10.18778/2083-8530.26.05 (Original work published December 30, 2022)

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