A BRECHTIAN ANALYSIS OF CARYL CHURCHILL’S MAD FOREST AND EDWARD BOND’S RED, BLACK AND IGNORANT A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY AYŞE YÖNKUL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH LITERATURE JANUARY 2013 i Approval of the Graduate School of Social Sciences _________________________ Prof. Dr. Meliha ALTUNIŞIK Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts. _________________________ Prof. Dr. Gölge SEFEROĞLU Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts. _________________________ Asst. Prof. Dr. Hülya YILDIZ BAĞÇE Supervisor Examining Committee Members Prof. Dr. Meral ÇİLELİ (METU, ELIT) ________________________ Asst. Prof. Dr. Hülya YILDIZ BAĞÇE (METU, ELIT) ________________________ Prof. Dr. Esin TEZER (METU, EDS) ________________________ ii I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all the material and results that are not original to this work. Name, Last name: Ayşe YÖNKUL Signature: iii ABSTRACT A BRECHTIAN ANALYSIS OF CARYL CHURCHILL’S MAD FOREST AND EDWARD BOND’S RED, BLACK AND IGNORANT YÖNKUL, Ayşe M.A., in English Literature Supervisor: Asst. Prof. Dr. Hülya YILDIZ BAĞÇE January 2013, 94 Pages This thesis is primarily concerned with Caryl Churchill and Edward Bond’s attempts to implement Brechtian methods of Verfremdungseffekt with the same artistic intent of social change in their plays, Mad Forest and Red, Black and Ignorant. In order to provoke critical and objective thinking, and action for positive change, both of the playwrights make use of Brechtian Verfremdungseffekt techniques of characterization, open-endedness, episodic structure, and audio-visual aids. These techniques let the playwrights present familiar situations, actions and attitudes as if they were unfamiliar so that they could be alienated and evaluated with a critical eye by the audience and the reader. In addition to studying the Brechtian elements in these two plays, this thesis argues that there is a point which drifts Bond’s Red, Black and Ignorant from Brechtian dramaturgy and Churchill’s Mad Forest; the point is that Red, Black and Ignorant includes non-Brechtian character design aspects and lack of Brechtian audio-visual aids. Keywords: Brechtian Verfremdungseffekt, episodic structure, open-endedness, Brechtian audio-visual aids, Brechtian characterization iv ÖZ CARYL CHURCHILL’iN MAD FOREST VE EDWARD BOND’UN RED, BLACK AND IGNORANT İSİMLİ OYUNLARININ BRECHTYEN AÇIDAN İNCELENMESİ YÖNKUL, Ayşe Yüksek Lisans Tezi, İngiliz Edebiyatı Ana Bilim Dalı Tez Yöneticisi: Yrd. Doç. Dr. Hülya YILDIZ BAĞÇE Ocak 2013, 94 sayfa Bu tez Caryl Churchill ve Edward Bond adlı oyun yazarlarının Mad Forest ve Red, Black and Ignorant adlı oyunlarında, Brecht ile aynı sosyal değişim niyetleriyle Brecht’in Yabancılaştırma Etkisi metotlarını, oyunlarında kullanma girişimlerini incelemektedir. Objektif kritik düşünce ve pozitif değişim düşüncelerinin tohumlarını zihinlere yerleştirebilmek için, her iki oyun yazarı da oyunlarında, Brecht’in Yabancılaştırma Etkisi tekniği olan karakter dizaynı, açık uçluluk, epizodik yapılanma ve görsel-işitsel öğelerden faydalanmaktadır. Bu teknikler yazarlara tanıdık durum, hareket ve tutumları, alışılmadık gibi göstermeleri konusunda yardımcı olup, izleyici ve okuyucuya bu durumları kritik bir gözle değerlendirme fırsatı sunmaktadır. Ayrıca, bu tez Brechtyen dramaturji ve Churchill’in Mad Forest adlı oyunu ile karşılaştırıldığında Bond’un Red, Black and Ignorant adlı oyununun Brechtyen olmayan karakter dizaynı içerdiğini ve Brechtyen görsel-işitsel öğelerin de yetersiz olduğunu öne sürmektedir. Anahtar Kelimeler: Brechtyen Yabancılaştırma Etkisi, epizodik yapılanma, açık-uçluluk, Brechtyen görsel-işitsel öğeler, Brechtyen karakterizasyon v To my family and my fiancé vi ACKNOWLEDGEMENTS The author wishes to express her deepest gratitude to her supervisor Asst. Prof. Dr. Hülya YILDIZ BAĞÇE for her supportive attitude and constructive criticism throughout the research. The author would also like to thank Prof. Dr. Meral ÇİLELİ for her suggestions, guidance and precious comments. The technical assistance of Oktay YAZICI, the head of Foreign Languages Department of Çankırı Karatekin University, is also gratefully acknowledged. vii TABLE OF CONTENTS PLAGIARISM.........................................................................................................................iii ABSTRACT.............................................................................................................................iv ÖZ..............................................................................................................................................v DEDICATION.........................................................................................................................vi ACKNOWLEDGEMENTS....................................................................................................vii TABLE OF CONTENTS.......................................................................................................viii CHAPTER 1. INTRODUCTION.................................................................................................................1 1.1 Caryl Churchill and Her Work.................................................................................4 1.2 Edward Bond and His Work....................................................................................7 1.3 The Aim of This Study...........................................................................................10 2. BRECHTIAN DISCOURSE AND VERFREMDUNGSEFFEKT......................................15 3. BRECHTIAN ELEMENTS IN MAD FOREST AND RED, BLACK AND IGNORANT...27 3.1 Brechtian Episodic Structure..................................................................................29 3.1.1 Brechtian Episodic Structure in Mad Forest.............................................30 3.1.2 Brechtian Episodic Structure in Red, Black and Ignorant.........................39 3.2 Brechtian Characterization......................................................................................52 3.2.1 Brechtian Characterization in Mad Forest................................................52 3.2.2 Brechtian Characterization in Red, Black and Ignorant............................57 3.3 Brechtian Audio-Visual Aids..................................................................................61 3.3.1 Brechtian Audio-Visual Aids in Mad Forest.............................................62 3.4 Brechtian Open-Endedness.....................................................................................67 3.4.1 Brechtian Open-Endedness in Mad Forest................................................67 3.4.2 Brechtian Open-Endedness in Red, Black and Ignorant...........................77 4. NON-BRECHTIAN FEATURES IN RED, BLACK AND IGNORANT..........................80 4.1 Non-Brechtian Characterization……………………………................................81 4.2 Lack of Audio-Visual Aids……………………………........................................85 5. CONCLUSION...................................................................................................................88 BIBLIOGRAPHY...................................................................................................................91 APPENDICES viii A. TEZ FOTOKOPİ İZİN FORMU...........................................................................94 ix CHAPTER 1 INTRODUCTION In the twentieth century, the whole world observed several mass destructions and chaotic scenes which have many long-term effects in several aspects of life such as politics, sciences, economics, cultures, and social lives. Just like all the other areas, literature went through disorder and many theories of it went upside-down owing to its quality of getting affected by the conditions in which it blossoms. Literary world of the Great Britain started to be unsatisfied by the inequalities and the discrepancies of the twentieth century chaotic environment, and it wanted to break with the older patterns which fell short for its aims of social enlightenment. Aristotelian drama techniques started to be insufficient and inappropriate for its aims of awakening and alerting the audience and the reader for a social change; and British drama circles mostly started to be unsatisfied about the way Aristotelian drama drags the audience and the reader into passivity in the service of fate. Unlike Aristotelian drama, modern plays mostly try to activate the audience and the reader so that they can act out about the faulty aspects of the societies. Bill Naismith puts emphasis on the critical quality of the modern plays and audiences of the nation as follows: “Many modern plays invite the audience to judge an action which might not be fully explained on the stage. The structure of the plays provides coherence and meaning, but the perceptiveness of the audience is required to draw relevant conclusions” (xxxiv). Modern British playwrights expect the audience and the reader get involved in the critical thinking, judging, drawing conclusions and finding solutions for the