Peter Shaffer\u2019\u0131n Amadeus adl\u0131 oyunu, tarihsel ki\u015filikler olan Wolfgang Amadeus Mozart ve Antonio Salieri\u2019yi merkeze almakla birlikte, \u00f6z\u00fcnde biyografik bir anlat\u0131dan ziyade, yarat\u0131c\u0131 dehan\u0131n do\u011fas\u0131, insan\u0131n Tanr\u0131 ile kurdu\u011fu etik ve varolu\u015fsal ili\u015fki ile k\u0131skan\u00e7l\u0131\u011f\u0131n y\u0131k\u0131c\u0131 boyutlar\u0131n\u0131 irdeleyen felsefi bir dramatik yap\u0131 sunar. 1979 y\u0131l\u0131nda kaleme al\u0131nan oyun, 18. y\u00fczy\u0131l sonu Viyana\u2019s\u0131n\u0131 tarihsel ve mek\u00e2nsal bir zemin olarak kullan\u0131r; anlat\u0131, ya\u015fl\u0131l\u0131k d\u00f6nemindeki Salieri\u2019nin itiraflar\u0131 \u00fczerinden geli\u015fir. Bu tercih, seyirciyi tarihsel bir tan\u0131kl\u0131\u011f\u0131n nesnelli\u011finden uzakla\u015ft\u0131rarak, g\u00fcvenilmez bir anlat\u0131c\u0131n\u0131n i\u00e7sel \u00e7\u00f6z\u00fclmesine ortak eder. Mozart\u2019\u0131n erken \u00f6l\u00fcm\u00fc etraf\u0131nda \u015fekillenen s\u00f6ylenceler, Shaffer taraf\u0131ndan bilin\u00e7li bi\u00e7imde dramatize edilir; Salieri, bu anlat\u0131da yaln\u0131zca k\u0131skan\u00e7 bir rakip de\u011fil, Tanr\u0131\u2019n\u0131n adaletini sorgulayan trajik bir fig\u00fcr olarak konumland\u0131r\u0131l\u0131r.<\/p>\n\n\n\n
T\u00fcrkiye\u2019de sahnelenen ve yedinci sezonunu oynayan Amadeus prod\u00fcksiyonu, yakla\u015f\u0131k iki bu\u00e7uk saat s\u00fcren (ara d\u00e2hil) bu yap\u0131m, 12 ya\u015f ve \u00fczeri izleyiciye hitap eden, m\u00fczik ve dramatik yap\u0131y\u0131 dengeli bi\u00e7imde bir araya getiren b\u00fcy\u00fck \u00f6l\u00e7ekli bir sahne deneyimi sunar. Sel\u00e7uk Y\u00f6ntem\u2019in Antonio Salieri\u2019yi, Tansu Bi\u00e7er\u2019in Wolfgang Amadeus Mozart\u2019\u0131 canland\u0131rd\u0131\u011f\u0131 prod\u00fcksiyonda, Constanze Weber rol\u00fc Dilan Deniz \u00c7i\u00e7ek ve \u00d6zlem \u00d6\u00e7almaz taraf\u0131ndan payla\u015f\u0131lmaktad\u0131r. Yetmi\u015f ki\u015filik geni\u015f oyuncu ve teknik kadrosuyla dikkat \u00e7eken bu sahneleme, alt\u0131 sezon boyunca t\u00fcm temsillerini kapal\u0131 gi\u015fe oynayarak y\u00fcz binlerce izleyiciye ula\u015fm\u0131\u015f; bu y\u00f6n\u00fcyle yaln\u0131zca sanatsal de\u011fil, k\u00fclt\u00fcrel dola\u015f\u0131m a\u00e7\u0131s\u0131ndan da istisnai bir ba\u015far\u0131 elde etmi\u015ftir.<\/p>\n\n\n\n
Sahneleme d\u00fczleminde Amadeus, klasik dramatik anlat\u0131n\u0131n \u00f6tesine ge\u00e7erek, m\u00fczi\u011fi yaln\u0131zca e\u015flik eden bir unsur olarak de\u011fil, anlat\u0131n\u0131n asli ta\u015f\u0131y\u0131c\u0131s\u0131 olarak konumland\u0131r\u0131r. Mozart\u2019\u0131n m\u00fczi\u011fi, sahne \u00fczerinde karakterin bedensel ve toplumsal \u201chafifli\u011fi\u201d ile \u00e7arp\u0131c\u0131 bir kar\u015f\u0131tl\u0131k olu\u015fturur; bu bilin\u00e7li tezat, dehan\u0131n g\u00f6r\u00fcn\u00fcr davran\u0131\u015flarla a\u00e7\u0131klanamaz do\u011fas\u0131n\u0131 vurgular. Salieri\u2019nin uzun monologlar\u0131 ve Tanr\u0131\u2019ya y\u00f6neltti\u011fi i\u00e7 hesapla\u015fmalar, sahneyi bir t\u00fcr vicdan ve inan\u00e7 mahkemesine d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. I\u015f\u0131l Kasapo\u011flu\u2019nun rejisi, bu i\u00e7sel \u00e7at\u0131\u015fmay\u0131 abart\u0131ya ka\u00e7madan, ritmik bir sahne ak\u0131\u015f\u0131 i\u00e7inde kurar; seyirci, olaylar\u0131n de\u011fil, zihinsel ve duygusal k\u0131r\u0131lmalar\u0131n tan\u0131\u011f\u0131 olur. Bu y\u00f6n\u00fcyle sahne, yaln\u0131zca tarihsel bir anlat\u0131n\u0131n mek\u00e2n\u0131 de\u011fil, karakterlerin i\u00e7 d\u00fcnyalar\u0131n\u0131n a\u00e7\u0131\u011fa \u00e7\u0131kt\u0131\u011f\u0131 psikolojik bir alan olarak i\u015flev g\u00f6r\u00fcr.<\/p>\n\n\n\n
Kavramsal a\u00e7\u0131dan oyun, \u201cdo\u011fu\u015ftan gelen ilahi yetenek\u201d ile \u201cemek ve disiplinle kazan\u0131lm\u0131\u015f ustal\u0131k\u201d aras\u0131ndaki gerilimi merkezine al\u0131r. Salieri, ahlaki olarak kusursuz olmaya \u00e7al\u0131\u015fan, Tanr\u0131\u2019ya ba\u011fl\u0131 bir ya\u015fam s\u00fcrmesine ra\u011fmen, Tanr\u0131\u2019n\u0131n m\u00fczikteki mutlak l\u00fctfunu Mozart gibi \u00f6l\u00e7\u00fcs\u00fcz, \u00e7ocuk\u00e7a ve toplumsal normlara ayk\u0131r\u0131 bir fig\u00fcre vermesini kabul edemez. Bu noktada Amadeus, yaln\u0131zca bireysel bir k\u0131skan\u00e7l\u0131k anlat\u0131s\u0131 olmaktan \u00e7\u0131kar; ilahi adalet, etik de\u011ferler ve yarat\u0131c\u0131 e\u015fitsizlik \u00fczerine d\u00fc\u015f\u00fcnsel bir sorgulamaya d\u00f6n\u00fc\u015f\u00fcr. Mozart bu anlat\u0131da bilin\u00e7li bir rakipten \u00e7ok, Tanr\u0131\u2019n\u0131n sesini ta\u015f\u0131yan bir ara\u00e7 gibidir; onun trajedisi, sahip oldu\u011fu yetene\u011fin b\u00fcy\u00fckl\u00fc\u011f\u00fcyle d\u00fcnyaya uyumsuzlu\u011funun paralel ilerlemesidir. Salieri\u2019nin Tanr\u0131\u2019ya y\u00f6neltti\u011fi \u00f6fke ise modern bireyin kutsal olanla ya\u015fad\u0131\u011f\u0131 k\u0131r\u0131lman\u0131n dramatik bir ifadesi olarak okunabilir.<\/p>\n\n\n\n
Tarihsel ba\u011flamda Amadeus, Ayd\u0131nlanma d\u00f6nemi Avrupa\u2019s\u0131n\u0131n sanat anlay\u0131\u015f\u0131n\u0131 ele\u015ftirel bir perspektifle yeniden yorumlar. 18. y\u00fczy\u0131l sonu Viyana\u2019s\u0131nda sanat, saray himayesi alt\u0131nda, hiyerar\u015fik ve \u00f6l\u00e7\u00fclebilir ba\u015far\u0131 kriterleriyle de\u011ferlendirilir. Salieri, bu sistemin ideal temsilcisidir; Mozart ise bu d\u00fczenin i\u00e7ine s\u0131\u011fmayan, \u00fcretimiyle sistemi zorlayan bir fig\u00fcrd\u00fcr. Bu kar\u015f\u0131tl\u0131k, Ayd\u0131nlanma\u2019n\u0131n ak\u0131lc\u0131 ve d\u00fczenleyici d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ile a\u00e7\u0131klanamayan yarat\u0131c\u0131 sezgi aras\u0131ndaki \u00e7at\u0131\u015fmay\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar. Mozart\u2019\u0131n yoksulluk i\u00e7inde \u00f6lmesi ve anonim bir toplu mezara g\u00f6m\u00fclmesi, yaln\u0131zca bireysel bir trajedi de\u011fil, tarih boyunca dehan\u0131n sistem taraf\u0131ndan nas\u0131l t\u00fcketildi\u011fine dair g\u00fc\u00e7l\u00fc bir metafor olarak okunabilir.<\/p>\n\n\n\n
Sonu\u00e7 olarak Amadeus, tarihsel ki\u015filerden yola \u00e7\u0131karak sanat, iktidar, inan\u00e7 ve yarat\u0131c\u0131 birey aras\u0131ndaki ili\u015fkiyi \u00e7ok katmanl\u0131 bir yap\u0131 i\u00e7inde ele alan, zamans\u0131z bir dramatik metindir. Ne Mozart\u2019\u0131 yaln\u0131zca masum bir kurban, ne de Salieri\u2019yi basit bir antagonist olarak sunar; aksine, insan olman\u0131n zaaflar\u0131n\u0131 ve dehan\u0131n yaratt\u0131\u011f\u0131 ontolojik e\u015fitsizli\u011fi sahne \u00fczerinde d\u00fc\u015f\u00fcnsel bir problem haline getirir. T\u00fcrkiye\u2019deki g\u00fcncel sahnelemesi ise bu evrensel metni g\u00fc\u00e7l\u00fc bir rejisel okuma ve y\u00fcksek prod\u00fcksiyon de\u011feriyle g\u00fcn\u00fcm\u00fcz izleyicisiyle bulu\u015fturarak, Amadeus\u2019u hem sanatsal hem de k\u00fclt\u00fcrel a\u00e7\u0131dan \u00e7a\u011fda\u015f bir referans noktas\u0131 haline getirmektedir.<\/p>\n\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
Peter Shaffer\u2019\u0131n Amadeus adl\u0131 oyunu, tarihsel ki\u015filikler olan Wolfgang Amadeus Mozart ve Antonio Salieri\u2019yi merkeze almakla birlikte, \u00f6z\u00fcnde biyografik bir anlat\u0131dan ziyade, yarat\u0131c\u0131 dehan\u0131n do\u011fas\u0131, insan\u0131n Tanr\u0131 ile kurdu\u011fu etik ve varolu\u015fsal ili\u015fki ile k\u0131skan\u00e7l\u0131\u011f\u0131n y\u0131k\u0131c\u0131 boyutlar\u0131n\u0131 irdeleyen felsefi bir dramatik yap\u0131 sunar. 1979 y\u0131l\u0131nda kaleme al\u0131nan oyun, 18. y\u00fczy\u0131l sonu Viyana\u2019s\u0131n\u0131 tarihsel ve mek\u00e2nsal […]<\/p>\n","protected":false},"author":2,"featured_media":522,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,21,1],"tags":[71,13,22,73,14,72,74],"class_list":["post-518","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-opera","category-opera-ve-bale","category-uncategorized","tag-amadeus","tag-bale","tag-istanbul","tag-kulturmerkezi","tag-opera","tag-selcukyontem","tag-zorlu"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=518"}],"version-history":[{"count":2,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/518\/revisions"}],"predecessor-version":[{"id":523,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/518\/revisions\/523"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/522"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=518"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=518"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}