ABSTRACT

Serhat Yiğit’s İkinci Katil (2017) is a Turkish adaptation of Shakespeare’s Macbeth. Reminiscent of Tom Stoppard’s Rosencrantz and Guildenstern are Dead (1966), it focuses on minor characters and their otherwise disregarded and peripheral microcosms. However, different from the post-modern self-reflexivity of Stoppard’s play, Yiğit uses an Aristotelian model in his play. Through its concentration on hitherto insignificant minor characters, non-self-reflexive intertextuality, and non-Brechtian acting, İkinci Katil departs both from conventional Shakespearean tragedies and conventionalised avant-garde post-Shakespearean interpretations of these tragedies. The construction of the stage and scenery allows to construct and to deconstruct the play and the source text’s interplay of textual allusions by setting the story of Macbeth to the periphery and the story of the Second Murderer, Warden, to the centre of the action. Therefore, this article will analyse Yiğit’s İkinci Katil and illustrate how the play borrows, adapts and transforms Shakespeare’s Macbeth.

摘要

Serhat Yiğit 的İkinci Katil (2017) 是土耳其改编的莎士比亚的麦克白。让人想起汤姆·斯托帕德 (Tom Stoppard) 的《罗森克兰茨和吉尔登斯特恩(1966)》，它侧重于次要人物以及他们在其他方面被忽视的外围缩影。然而，与斯托帕德戏剧的后现代自我反思不同，伊伊特在他的戏剧中使用了亚里士多德模型。通过专注于迄今为止微不足道的次要角色、非自我反思的互文性和非布莱希特式的表演，伊金奇·卡蒂尔既背离了传统的莎士比亚悲剧，也背离了对这些悲剧的传统化的、前卫的后莎士比亚式的解释。通过将麦克白的故事设置在外围，将第二凶手监狱长的故事设置在动作的中心，舞台和布景的构建允许构建和解构戏剧和源文本的文本典故的相互作用。因此，本文将分析 Yiğit 的İkinci Katil并说明该剧如何借用、改编和改造莎士比亚的《麦克白》。