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Oyunlar
Kafatası
Guclu bir dramatik yapi, cok kisili dogal bir diyalog akisi, zehir zikkimpolitik elestiriden toplum sorunlarinin kokenine inen bir dram anlayisi... Nazim Hikmet, sairligine es bir oyun yazari oldugunu da gozler onune seriyor... "Nazim Hikmet Kulliyati"nda...Sayfa 240Baski 2015 Yapi Kredi Yayinlari
240 pages, Paperback
First published January 1, 1932
2 people are currently reading
79 people want to read
About the author
Nâzım Hikmet
262 books800 followersNazim Hikmet was born on January 15, 1902 in Salonika, Ottoman Empire (now Thessaloníki, Greece), where his father served in the Foreign Service. He was exposed to poetry at an early age through his artist mother and poet grandfather, and had his first poems published when he was seventeen.
Raised in Istanbul, Hikmet left Allied-occupied Turkey after the First World War and ended up in Moscow, where he attended the university and met writers and artists from all over the world. After the Turkish Independence in 1924 he returned to Turkey, but was soon arrested for working on a leftist magazine. He managed to escape to Russia, where he continued to write plays and poems.
In 1928 a general amnesty allowed Hikmet to return to Turkey, and during the next ten years he published nine books of poetry—five collections and four long poems—while working as a proofreader, journalist, scriptwriter, and translator. He left Turkey for the last time in 1951, after serving a lengthy jail sentence for his radical acts, and lived in the Soviet Union and eastern Europe, where he continued to work for the ideals of world Communism.
After receiving early recognition for his patriotic poems in syllabic meter, he came under the influence of the Russian Futurists in Moscow, and abandoned traditional forms while attempting to “depoetize” poetry.
Many of his works have been translated into English, including Human Landscapes from My Country: An Epic Novel in Verse (2009), Things I Didn’t Know I Loved (1975), The Day Before Tomorrow (1972), The Moscow Symphony (1970), and Selected Poems (1967). In 1936 he published Seyh Bedreddin destani (“The Epic of Shaykh Bedreddin”) and Memleketimden insan manzaralari (“Portraits of People from My Land”).
Hikmet died of a heart attack in Moscow in 1963. The first modern Turkish poet, he is recognized around the world as one of the great international poets of the twentieth century.
Raised in Istanbul, Hikmet left Allied-occupied Turkey after the First World War and ended up in Moscow, where he attended the university and met writers and artists from all over the world. After the Turkish Independence in 1924 he returned to Turkey, but was soon arrested for working on a leftist magazine. He managed to escape to Russia, where he continued to write plays and poems.
In 1928 a general amnesty allowed Hikmet to return to Turkey, and during the next ten years he published nine books of poetry—five collections and four long poems—while working as a proofreader, journalist, scriptwriter, and translator. He left Turkey for the last time in 1951, after serving a lengthy jail sentence for his radical acts, and lived in the Soviet Union and eastern Europe, where he continued to work for the ideals of world Communism.
After receiving early recognition for his patriotic poems in syllabic meter, he came under the influence of the Russian Futurists in Moscow, and abandoned traditional forms while attempting to “depoetize” poetry.
Many of his works have been translated into English, including Human Landscapes from My Country: An Epic Novel in Verse (2009), Things I Didn’t Know I Loved (1975), The Day Before Tomorrow (1972), The Moscow Symphony (1970), and Selected Poems (1967). In 1936 he published Seyh Bedreddin destani (“The Epic of Shaykh Bedreddin”) and Memleketimden insan manzaralari (“Portraits of People from My Land”).
Hikmet died of a heart attack in Moscow in 1963. The first modern Turkish poet, he is recognized around the world as one of the great international poets of the twentieth century.
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Displaying 1 - 9 of 9 reviews
June 12, 2024
مسرحية تراجيدية قائمة على التحليل الماركسي للرأسمالية في نزوعها لتسليع القيم المعنوية.
قيمة المسرحية الجمالية في تحليلها لبنية المجتمع من خلال قصة دكتور دالبانيزو الذي يكتشف نظرية لقاح لعلاج السل من أجل ابنته، لكن انكفاء الدكتور على العلم وحده دون النظر للإطار السياسي الذي يحكم الحياة هو ما يجعله متفائلا، سرعان ما ينتهي هذا الحلم بمجرد تسرب خبر اكتشافه للعلاج. لتتدخل مصلحة الرأسمال القائم على مصحات العلاج الخاصة بالسل لتستغل حاجاته للمال حتى مع رفضه سيتم فرض واقع مادي عليه وعلى المحيطين به لإجباره على الإذعان. لتنتهي رحلته من عالم لمجرد أفاق مشعوذ بيعت جمجمته.
يمكن للحياة أن تنزع من الإنسان كل إرادة وأن تفرض عليه الموت، لكن بالإيمان والإيمان وحده من يحفظ لروح الإنسان صلابتها. والحياة لا تسري بحتميات البشر.
قيمة المسرحية الجمالية في تحليلها لبنية المجتمع من خلال قصة دكتور دالبانيزو الذي يكتشف نظرية لقاح لعلاج السل من أجل ابنته، لكن انكفاء الدكتور على العلم وحده دون النظر للإطار السياسي الذي يحكم الحياة هو ما يجعله متفائلا، سرعان ما ينتهي هذا الحلم بمجرد تسرب خبر اكتشافه للعلاج. لتتدخل مصلحة الرأسمال القائم على مصحات العلاج الخاصة بالسل لتستغل حاجاته للمال حتى مع رفضه سيتم فرض واقع مادي عليه وعلى المحيطين به لإجباره على الإذعان. لتنتهي رحلته من عالم لمجرد أفاق مشعوذ بيعت جمجمته.
يمكن للحياة أن تنزع من الإنسان كل إرادة وأن تفرض عليه الموت، لكن بالإيمان والإيمان وحده من يحفظ لروح الإنسان صلابتها. والحياة لا تسري بحتميات البشر.
December 27, 2022
Το Κρανίο (1932) είναι ένα από τα λίγα θεατρικά που έγραψε ο Ναζίμ Χικμέτ. Ο χρόνος είναι απροσδιόριστος, ο τόπος που διαδραματίζεται είναι εμφανώς η Αμερική όπου ο γιατρός Νταλμπανέζο έχει ανακαλύψει τον αντιφυματικό ορό, τον ορό που θα σώσει την ανθρωπότητα από την μάστιγα της φυματίωσης. Ο Νταλμπανέζο όμως είναι πάμφτωχος και για να ολοκληρώσει την τελική δοκιμή του ορού χρειάζεται ένα πλήρες εργαστήριο και βέβαια ένα σημαντικό κεφάλαιο. Η ανακάλυψη του ορού όμως δεν συμφέρει τα ενωμένα τραστ των σανατορίων και με συμμάχους τα τραστ του Τύπου καταφέρνουν να τον εξοντώσουν και να τον ρίξουν στο περιθώριο και στην εξαθλίωση ζώντας σαν αλήτης στον δρόμο. Ο γιατρός καταλήγει να δουλεύει, έρμαιο της μοίρας του και ανήμπορος, σε ένα τσίρκο, εξευτελισμένος να γίνεται θέαμα για ένα δολάριο, όπου εκεί τελικά πεθαίνει. Στο νεκροτομείο, ο φύλακας πουλάει το κρανίο του για 65 δολάρια σε έναν χειρούργο.
Ένα έργο ανατομία του δυτικού αστικού πολιτισμού, του δυτικού καπιταλισμού ξεκάθαρα όπου με το πρόσχημα του ανθρωπισμού ξεσκεπάζεται η υποκρισία, η αδικία και τελικά το έγκλημα.
Ένα έργο ανατομία του δυτικού αστικού πολιτισμού, του δυτικού καπιταλισμού ξεκάθαρα όπου με το πρόσχημα του ανθρωπισμού ξεσκεπάζεται η υποκρισία, η αδικία και τελικά το έγκλημα.
June 19, 2019
"Elbette değiştim, ihtiyarladım.
İleri atılan her yeni adım
Yüzde bir çizgiyi fazlalaştırır." (Ocak Başında, syf. 11)
".... Onlar benim gözlerimin önünde gözleriyle birbirlerinin oldu. Şimdi aralarındaki münasebet göz göze bakışmaktan, dudak dudağa değmeye kadar geçmiş midir? Bu bir derece farkı. Başka bir şey değil. Onlar beni istekle birbirlerinin gözü içine baktıklan an aldattılar...." (Unutulan Adam, syf. 165)
"Hangi insan kendisinin de hakikaten öteki insanlar gibi günün birinde mutlaka öleceğine inanır ... Hepimiz buna inanır görünürüz...." (Unutulan Adam, syf. 177)
İleri atılan her yeni adım
Yüzde bir çizgiyi fazlalaştırır." (Ocak Başında, syf. 11)
".... Onlar benim gözlerimin önünde gözleriyle birbirlerinin oldu. Şimdi aralarındaki münasebet göz göze bakışmaktan, dudak dudağa değmeye kadar geçmiş midir? Bu bir derece farkı. Başka bir şey değil. Onlar beni istekle birbirlerinin gözü içine baktıklan an aldattılar...." (Unutulan Adam, syf. 165)
"Hangi insan kendisinin de hakikaten öteki insanlar gibi günün birinde mutlaka öleceğine inanır ... Hepimiz buna inanır görünürüz...." (Unutulan Adam, syf. 177)
December 25, 2020
Unutulan Adam; Nazım'ın Yusuf ile Menofis'ten sonra en çok aklımda kalan oyunu. Severiz biz alttan üste çıkılan hikayeleri (Scarface tarzı) burada ise yukarıdan aşağıya nizama uygun iniş var. Neden isyan etmiyor bu adam? Neden centilmence karşılar hayatın ona bu uygun gördüğünü?
Kitabın puanı benim için 1 iken bu oyun ve düşündürdüğü pencere yüzünden 3 yıldız verdim.
Kitabın puanı benim için 1 iken bu oyun ve düşündürdüğü pencere yüzünden 3 yıldız verdim.
September 2, 2017
XX əsrin imperialist Türkiyəsində insanların elmə nə qədər az dəyər verməsini və öz sərmayeləri uğrunda hər cür fırıldaqçılığa əl atmasını tənqid edən gözəl bir pyes idi.
October 22, 2018
من ابشع ما كتب وقرأت
June 20, 2018
Yıllarca her şiirini okumuşken şimdi ilk kez oyunlarını okudum Nazım'ın ve gördüm ki, sadece şiirleri değil her sözü şiirmiş. Dikkatimi çeken şeylerden biri çoğu oyunda özel isim yerine 'doktor' 'kadın' gibi genel adlar verilmiş olmasıydı rollere. Her zamanki gibi toplumsal yönden bakıyor durumlara. En sondaki operet ise beni şaşırtmadı diyemem, operet yazmış olacağını düşünmezdim fakat bence operet klişelerine oldukça uygun ve tatlıydı, kitabın da tatlı bitmesini sağladı. Beni en çok etkileyen oyun ise Kafatası oldu. Teşekkürler, Nazım Hikmet Ran'a.
January 20, 2016
المال والسلطة تحكم العالم فتجعل كل ما هو خطأ ذروة الصحة.
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May 25, 2017Nâzım Hikmet’in oyunu (1932) • İlk kez 1932’de Darülbedayi’de (İstanbul Şehir Tiyatrosu) oynanmış, üç perdelik eserin konusu, verem serumunu keşfeden Doktor Dalbanezo’nun ve onun temsil ettiği ilmin ve değerin; toplum düşmanı, bencil kimselerin elinde nasıl oyuncak olduğu, insanlık için çalışan ilim adamı karşısında insanlığın ilgisizliğidir.
Displaying 1 - 9 of 9 reviews