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Uyarca

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Günümüz Türkiyesi'nde bireyin yaşadığı -daha doğrusu yaşamak zorunda kaldığı- yenilgilere bir çözüm bulmanın, insana ve onun ürettiği değerlere saygılı olmaktan geçtiğini yadsımak, artık olanaksızdır.

İnsanın ürettiği değerleri, sahnede ona yineleyen ve bu değerleri tartışmaya açan, tiyatro sanatının seçkin örneklerini sunmayı amaçlayan bu dizinin bir diğer hareket noktası da, her ulusun, tiyatro sanatı aracılığıyla, kendini nasıl sorguladığını, 20. Yüzyılın başlarında ve sonlarında yazılmış eserlerden seçilen örneklerle, gündeme getirmektedir. Çünkü tiyatro sanatı, aynı zamanda dünyanın anlaşılmazlığını deşen ve insan varlığındaki sırların kavranmasına yardımcı olan bir sanat dalıdır.
Özcan Özer

72 pages, Paperback

First published January 1, 1976

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About the author

Friedrich Dürrenmatt

413 books1,035 followers
Friedrich Dürrenmatt (1921 – 1990) was a Swiss author and dramatist.

Dürrenmatt was born in the Emmental (canton of Bern), the son of a Protestant pastor. His grandfather Ulrich Dürrenmatt was a conservative politician. The family moved to Bern in 1935. Dürrenmatt began to study philosophy and German language and literature at the University of Zurich in 1941, but moved to the University of Bern after one semester. In 1943 he decided to become an author and dramatist and dropped his academic career. In 1945-46, he wrote his first play, "It is written". On October 11 1946 he married actress Lotti Geissler. She died in 1983 and Dürrenmatt was married again to another actress, Charlotte Kerr, the following year.

He was a proponent of epic theater whose plays reflected the recent experiences of World War II. The politically active author gained fame largely due to his avant-garde dramas, philosophically deep crime novels, and often macabre satire. One of his leading sentences was: "A story is not finished, until it has taken the worst turn". Dürrenmatt was a member of the Gruppe Olten.

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97 reviews
August 29, 2012
The play itself was all right, not one of Dürrenmatt's best but certainly not terrible and quite appropriate to the current policital and economic situation. However the lenghty explanations afterward soon became tedious to me. Initially it was fascinating to "peer into Dürrenmatt's head", as it were, as he explained the why's and and how's of the play, including how he sees it staged. I found after a while that this detracted from my own interpretation and feelings towards the characters, and this wasn't at all what I "want" from a play. "How would the author (or composer) have wanted this piece to be performed?" is a frequently asked question. It is one which I have always felt to be irrelevant and even more so now. Plays and pieces of music become independent animals after they have left their authors and for me, this is one of the most important aspects of their enduring charm!
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