SELÇUK BARAN’IN HİKÂYELERİNDE TEATRALLİK VE OYUN

Abstract

Theatricality is a concept used in a wide range from politics to sociology, from painting to philosophy, from literature to cinema. Even the concept was born from the art of theater, it goes beyond the borders in modern culture and has various meanings in non-theatre areas. The concept of theatricality in the 20th century spreads to many areas of social sciences such as psychology, sociology, anthropology, which tend to understand modern individuals, their conditions and experiences. In Selçuk Baran's stories, because of the incompatibility of the characters with the society and their social roles, the alienation and isolation brought about by this; the characters’ everyday life leads them to see the nature of life as a theatrical spectacle, an edited, fictionalized performance. Both the private and the public space turn into a theatrical stage, and all forms of communication and behavior that take place with a second person or in front of a group turn into a performance. This article will examine the consciousness of the observer-narrator and narrator-characters, which theatricalize daily life, in the stories of Selçuk Baran, who have difficulties in maintaining their social roles and being a part of social coexistence. Thus, it will examined how Selçuk Baran gives meaning to the concept while displaying the theatrical quality of daily life.