Mojo: Trapped in a Magnetic Field

A play that belongs to the movement in-yer-face, Mojo has been adapted to stage one more time this year. Originally written in 1995 by British writer Jez Butterworth, the play was directed by İlham Yazar and its art director was Edal Beşikçioğlu. The play was performed in Cermodern, Stürdocer on 7^th of April, 2013. The actors of the play consisted of famous Turkish actors mostly known for their television projects; Nurset Şenay, Doruk Nalbantoğlu, Ali Yoğurtçuoğlu, İnanç Konukçu, Berkan Şal and Engin Öztürk. The floor of the hall which led to the entrance was with scattered hand-outs of Parlak Johnny – a future star that takes stage at the Atlantic Club.  The audience was accompanied by the song “These Days” by The Black Keys, which in my opinion wrecked the atmosphere to know the song beforehand also to know that the song is contemporary. It was conflicting with the time period that the play set forth. The seats for the audience were placed in a U-shaped setting and were facing the bar of the club and between the bar and the seats were the tables and chairs of the club.

Born in 1969, Jeremy Butterworth is a dramatist and film director. He was born in London and attended Verulam Comprehensive School, St Albans and St John’s College, Cambridge. He had a major success with his third play Mojo which was premiered at the Royal Court Theatre, and the play won the Laurence Olivier, and Evening Standard and the George Devine awards. The director of the play Ilham Yazar was born in Ankara in 1968 and he was graduated from Hacettepe University Conservatory. After being appointed to Diyarbakır National Theatre, he has been a part of Ankara National Theatre since 1995. He has directed the play Mojo before in 2009 for Dib Sahne and for this, he was nominated for Sadri Alışık Theatre Awards The Best Director of the Year. According to the newspaper article of Radikal, İlham Yazar requested the acts to be almost identical to the ones performed in 2009 therefore there was not much change between two versions.

The play is set in Soho and is in the form of a black comedy. The plot is about a day of lives attached to Atlantic Club and their possible salvation through their precious Parlak Johnny and dreams that include America. One day with the death of the owner of the club and Johnny going missing, things go upside down and their dreams collapse.  There rises a new power struggle between the abused son of the club owner and the seemingly loyal manager of the club.

The play began with Şekerci and Potts on stage with implications from their speech that Parlak Johnny is in a room having a business talk with some. The audience hears about their dreams and how Potts discovered Johnny singing by a guitar in the streets. By their actions and their ways of speech we are given that they’re high which makes the setting even more realistic considering the time period and their states. Also both theirs and other actors’ speeches and acts towards each other is very disturbing which is a necessity for the in-yer-face movement.

            The costumes of the actors were very simple and daily but also belonging to the time period. There were skinny leather pants on one of them; hippie-like saggy cotton outfit on the other, and Johnny was in shiny silver trousers. And Mikey who is somewhat wealthy manager of the club was in white trousers and very-mentioned in the game baby animal leather shoes.

            The performances along with coming and going loud music and mist really put the audience in the mood. The audience felt as if belonged to the club and I believe at some point this went so far that the language full of curses and threats only made the audience giggle or even laugh at points. The end of the play however, shook the audience. Even after the violence had gotten ordinary, what is revealed in the end that is Mickey being a inside man and getting the owner of the club killed in order to profit from the club and Johnny himself, the death of Sıska and especially the reaction Mickey gives to his death was moving. It was not until then that I realised the power of abuse and its importance in the play. And it was not until now that I am writing about it that the most possible reason that Bebe, the son of the dead club owner who was violated by his father as a child, hated Sıska so much because his abusement was in the past whereas Sıska was still being abused by Mickey. As it is written in Radikal, the play has no intention of dictating or giving a message but it sure pushes the audience to their limits and makes them think.

Works Cited

Izci, Ipek. "Çünkü dünya, her yerdir!." Radikal 02 02 2013, n. pag. Web. 29 Apr. 2013. <http://www.radikal.com.tr/radikal.aspx?atype=radikaldetayv3&articleid=1119618&categoryid=41>.

Dilara Ecem Ümitli (ELIT III)

How Far a Mother Can Go for Her Child: Dolores Claiborne

            Dolores Claiborne is an adaptation by David Joss Buckley from Stephen King’s novel which has the same title. It is directed by Hakan Çimenser and the main roles are acted by Fulya Koçak Yeşilkaya, Tolga Tuncer, Deniz Gökçe Kayhan and Serap Sağlar. It is a production of the public theatre. The performance day is 23^rd April. The story is mainly related with a middle-aged woman, Dolores, and her relations with her family and with her employee, Vera Donovan. After being accused of murdering her employee, Dolores begins to tell her story from the beginning and the audience learns about her life by watching the flashbacks. The writer of the novel, Stephen King, is obsessed with thriller and human psychology. That’s why the play can be categorized as a psychological thriller. The director, Hakan Çimenser, has directed twenty-six plays including Dolores Claiborne and Kahvehane which was performed in Bilkent Tiyatrosu. Besides being a director, Çimenser is an actor and a director assistant.

            To begin with, the stage design of the play was very creative and unique. The stage was designed as a platform which was mobile. As scenes changed, the stage changed, too. I found this idea very original and appropriate because the scenes changed a lot between the investigation of Dolores and the flashbacks. That’s why I really liked the stage design. The stage was closed before the performance began so there was not a clue related with the themes of the plays. In addition, although it was not exactly similar, the auditorium reminded me the neoclassical French theatre. The stage, the position of the audience and the entrances were nearly the same. After seeing a sketch of this particular kind of theatre, I found these similarities between the auditorium and the sketch.

            The play’s mood was generally gloomy and dark because its main themes were about the violence inside the family, incest and murder. That’s why the play had lots of exiting, thrilling and surprising scenes. For instance, the scene which Dolores kills her husband, Joe, was very exciting. To kill her husband, Dolores makes him drunk and he falls in a well. In this particular scene, there was the help of technology. To see Joe’s reaction in the well, there was a video shown to the audience and Dolores was standing in front of it. It was a very effective scene. In addition, this scene was the peak point of excitement because after this scene, the play changed its mood from thriller to Dolores’ feelings about the murder.  Apart from this scene, there were two scenes which the audience found shocking, according to the reactions of them. The first one Dolores stands behind her husband with an axe. It was a thrilling scene for me, too. The second scene was Joe suddenly hits Dolores with a piece of wood. At this scene, the audience was shocked, I observed.

            Among these thrilling and shocking scenes, the best scenes were the dialogues between Vera Donovan and Dolores Claiborne, in my opinion. Vera Donovan was not a major character but she said the main point of the play.  I was really affected when she said: “Sometimes you have to be a high-riding bitch to survive. Sometimes being a bitch is all a woman has to hold onto”. Although Dolores and Vera had totally different characteristics, they were similar to each other in terms of being a mother and it meant a lot to them. That’s why I think their dialogues about the motherhood were the best part of the play. This idea of the motherhood was an outstanding idea because the play showed us how far a mother can go for her child.

            In terms of the play’s genre, it was mainly related with realism. Stephen King wrote about a family who had lots of problems such as violence, incest, sexual abuse and alcohol. In this sense, the plot was very realistic because there are lots of families with the same problems. In addition, the way King approached the theme of motherhood was also very realistic. In addition, there was a set between the audience and the performers. However, the exact time of the play was not mentioned in it. In my opinion, its purpose was to state that these problems in the family could be anywhere and anytime in the world. In this sense, the play did not focus only one particular kind of race, country and so on.

            In terms of the setting and the technical aspects of the play, I particularly liked the music, the stage design. The music used in the play was very effective, in my opinion. As I stated earlier, the stage was very appropriate and effective. It changed when the scenes changed. However, the sound the stage made during changing was not good at all but the design was so perfect that I almost forgot the noise it made. On the other hand, the lightning, costumes and make up were fine but they were not impressive enough for me. In other words, they were not effective enough to be memorable. In addition, sound effects of the play were unrealistic. I think if a sound effect is not perfect, it should not be used in plays because it makes the play seem unrealistic. Therefore, technical aspects and the setting were not perfect but they were not a disaster.

            Overall, Dolores Claiborne was a very good play in terms of its themes, the plot, the performers, the stage design and directing. Especially the stage design was to perfection. On the other hand, the other aspects were just good. In other words, they did not very bad but they could be better. At the end of the play, you may find yourself thinking about the themes of the play like I did.

Kaan Akın (ELIT II)

From a Spectator's Glance: Jean-Paul Sartre’s The Respectful Prostitute

Jean-Paul Sartre’s The Respectful Prostitute theater production performed at Bilkent’s Theater Salon on 11^th March. The director of the performance is Musa Arslanali and the performance included six talented actors and actresses. Most of the actors and actresses are Bilkent students while a few are professional performers. The actors and actresses included Zeynep Koltuk as Lizzie, Haluk Kaya as Fred, Tansel Aytekin as Senator, Baran Can Eraslan as the Black man, Barbaros Efe Türkay as James and Koray Alper as John. The auditorium was fairly large and consisted many seating arrangements. However, it could not fit all of the attendants and the late comers had to sit on the steps next to the seating arrangements of the auditorium. Therefore, the auditorium was very full and not large enough to arrange seats for all the viewers. The stage design completely connected with the theme of the performance. The viewer could immediately understand the theme of the performance by only observing the stage design because it is only the colors black and white which reflect the theme of racism between the black and white’s. 

            The writer of The Respectful Prostitute Jean-Paul Sartre is a French existentialist philosopher, playwright, novelist, screenwriter, political activist, biographer, and literary critic. His works were influenced by philosophical and sociological aspects and are fluent in his literary writings. Jean-Paul had a very unique and genuine character demonstrated when he declined the 1964 Nobel Prize in Literature because he believed that literature should not be institutionalized. He was also a leading figure in 20^th century French philosophy and Marxism and also in the philosophy of existentialism.

            Jean-Paul Sartre’s The Respectful Prostitute is a 1962 play about a prostitute who is involved in the racism events of the racially afflicted tense American history.  The performance takes place in the 1930’s of America when racism is at its peaking point. Its main plot revolves around a rich white main in the higher class who falsely tries to blame a black man for murdering another person. The audience later realizes that the murderer is falsely accused because the murderer is not the black man but actually the white man whom is accusing others. The white man, known as Fred, is conducted by his family to sleep with a prostitute who has also encountered the falsely accused black man in the scene of a crime. However, she believes that the black man is innocent and should not be sent to prison. Fred sleeps with the prostitute and manipulates her to accuse the black man as the conductor of the crime. The prostitute, Lizzie, is reluctant to testify falsely about the innocent black man and refuses to obey Fred’s words. Later on, Fred’s family members come and persuade her to testify against the black man and manipulate her to agree on testifying against the black man. The peak point of excitement is the scene when Fred’s family members persuade her to testify against the black man. That scene is the peak point because the family finally achieves to falsely prove Fred innocent although he is guilty.

            The major themes in the production consisted of various subjects such as racism against blacks, prejudice and social class. The main significantly evident theme is racism against blacks because the plot of the performance is the false understanding of a black man just because his skin color is black. Prejudice is another theme because the society does not observe the evidence and crime scene which could prove that the black man is not guilty for the crime. The reason for prejudice is because the higher white social class is more manipulative and has more consent from the society. Therefore, the higher class in society is more superior and almost always achieves their aims even if it is false truth. The messages consistent in the performance are the contradictions of racism and the upper hand of the white social class controls the lower black class. This message is demonstrated as Fred controlling the court decision of the Black man by persuading Lizzie to testify against the Black man.  The actors acknowledged the presence of the audience in a representational style throughout the performance. This is because the character is not in interaction with the audience and is only reflected on the existence of their characters. The characters do not acknowledge the existence of the audience and act as if they are living in their own world.

            Regarding the performance in my perspective, I thought that the scenery and the decorations were very creative because they closely suited the themes and plot of the performance. The acting was surprisingly well especially because most of the actors were still students. My favorite character is Lizzie because she tried to defend herself against the control of the higher class even though they had significantly more power over her than she had over them. Her actions reflecting opposition against the higher white class surprised me because opposition is usually not recognized in that specific time period and the women were not as reluctant as Lizzie is against the powerful high class. I was not disappointed in any of the scenes regarding the scenery or acting. However, I was disappointed with the main plot regarding the power the higher class has over the lower class.

            To conclude, the setting is very effective throughout the performance because all of aspects of the scenery are connected to the theme of the performance. The colors of the setting are mainly black and white which represents the theme of the contradictions between the white and black people. The mood and the stage do not significantly change at the end of the performance because the colors of the scenery are the same and the mood still revolves around the contradictions between races. 

 Serap Selma Bıyıklı (ELIT II)

Hacettepe University, Centre for British Literary and Cultural Studies Presents The Making of Anglo-Ottoman Diplomacy Through Correspondence

The interaction between diplomacy and literature functions in various ways. Diplomacy does not merely appear in non-fictional and fictional literature as thematic material, but also shapes form, while literature, in search of aesthetic representation, depicts diplomatic activity. This seminar aims to discuss diplomacy as a practice of communication and semiotic exchange and the representation of diplomatic activities in literature in the sixteenth century during Queen Elizabeth’s and Sultan Murad III’s reigns. Gifts and letters exchanged in abundance as part of the diplomacy between the Ottoman Empire and the English sovereignty in the sixteenth century provide an invaluable evaluation of diplomatic poetics in early modern literary studies and in redefining Europe.

SPEAKER: Dr Gül Kurtuluş, Acting Chair

                   Bilkent University, Department of English Language and Literature
DATE: 02 May 2013 Thursday

TIME: 13:30
VENUE: Mehmet Akif Ersoy Hall, Beytepe

A Fantastic Lecture to Inspire Interest in Women Writers in Latin American Literature Assoc. Prof. Dr. RoseAnna Mueller, “Women Narrating Latin American Women’s Lives”

On Wednesday, April 3, the Department of English Language and Literature presented a lecture by Assoc. Prof. Dr. RoseAnna Mueller, a faculty member at the Columbia College Chicago in Humanities and Foreign Languages, Department of Humanities, History and Social Sciences. She worked as the Humanities Coordinator from 1996 to 1999, and is currently the Director of Women’s/Gender Studies Minor.

       Our guest Professor Mueller came a long way from Chicago to introduce “Women Narrating Latin American Women’s Lives” with the goal of inspiring the interest of the Bilkenters in Latin American Literature. Firstly, Mueller talked about the Venezuelan author Teresa de la Parra’s Three Lectures: Women’s Influence in the Formation of the American Soul (1930), which defined women’s active roles in Latin American History.  De la Parra believed that it was her duty to inform her audience about women’s contributions to Latin American History through action in the past and writing in the future. Secondly, Mueller discussed an important literary genre, testimonio which allows women, excluded from the society because of class, race and gender distinctions, to have a voice among public. Mueller delivered an overview of three melodramatic testimonies of Rigoberta Menchú (Guatemala), Domitila de Chungarra (Bolivia), and Reyita de los Santos (Cuba). In these testimonies, three upper-middle class women depict the harsh lives of three ordinary women, who faced race, class and gender distinctions as well as financial problems in their patriarchal societies. Finally, Muller talked about the importance of film-making in the depiction of women’s lives. The Argentinian filmmaker María Luisa Bemberg’s movie Yo la peor de todas is about the life of the intellectual colonial Mexican nun Sor Juana Inés de la Cruz, and the movie Camila  tells us the dramatic story of Camila O’Gorman, who fights against her family and society to be with her Lover.

     At the end of the Seminar, a lively discussion started with the contributions and questions of many interested- participants. The discussion also brought up the significant issues of magical realism, post-modernism and postcolonial literature. The interaction between the very large number of enthusiastic participants and Assoc. Prof. Dr. RoseAnna Mueller, remarkably eager to lecture, proves that the goal of inspiring interest in Latin American Literature is successfully achieved.  We offer sincere Gratitude to Assoc. Prof. Dr. RoseAnna Mueller and all the participants for the effective seminar.

(Yeşim Kurşunlu ELIT IV)