Yeniden yazılan metinler: Sırça Kümes ve Sırça Hayvan Koleksiyonu oyunlarının oyun çevirisi bağlamında incelenmesi
Abstract
Bu çalışmada Amerikan tiyatrosunun önde gelen yazarlarından Tennessee Williams'ın Birinci Dünya Savaşı sonrasında yaşanan Büyük Buhran döneminde geçen, üç kişilik bir ailenin verdiği yaşam mücadelesini ve eve gelen 'misafirin' varlığıyla tetiklenen büyük sonunu konu alan The Glass Menagerie'nin, Türkçe edebiyat dizgesine sırasıyla Milli Eğitim Bakanlığı Yayınları ve Mitos Boyut Yayınları tarafından kazandırılan ve Devlet Tiyatroları ile İstanbul Büyükşehir Belediyesi Şehir Tiyatroları gibi ödenekli tiyatrolar ile özel tiyatrolar tarafından sahnelenen iki çevirisi incelenmiştir. Can Yücel'in Sırça Kümes adlı çevirisi ile Aytuğ İzat'ın Sırça Hayvan Koleksiyonu adlı çevirisi André Lefevere'in çeviriyi yeniden yazma olarak ele alan kuramsal yaklaşımı çerçevesinde ele alınmıştır. Marilyn Gaddis-Rose'un uygulaması olan 'üç-boyutlu okuma' yöntemi doğrultusunda kaynak metinle birlikte okunan erek metinlerde gözlemlenen çevirmen kararları, yorum ve çeviri anlayışı farklılıklarına göre sınıflandırılmıştır. Ayrıca çevirmenler Can Yücel ile Aytuğ İzat'la yapılan söyleşiler çevirmen kimliklerini ve söylemlerini belirlemek amacıyla incelenmiştir. Erek metinlerde gözlemlenen çevirmen kararları ve çevirmenlerin açıkladığı çeviri söylemleri karşılaştırılarak birlikte ele alınmış ve iki erek metin ile kaynak metin arasında yapılan okuma yolculuğu bu bütüncül değerlendirme ışığında yorumlanmıştır. Anahtar Sözcükler: yeniden yazma, üç boyutlu okuma, oyun metni, sahne metni, oyun metinleri çevirisi.
In this work, two translations of The Glass Menagerie, has been studied. The Glass Menagerie, a play about three character family's life struggles during Great Depression which has followed The World War One and the great problem which has been triggered by the 'guest' welcomed by the family, was written by one of the leading playwrights of American Theatre, Tennessee Williams and has been translated to Turkish by two different translators and this two translations have been residing in Turkish Literature system as published by Ministry of National Education Publishing and Mitos Boyut Publishing. The plays have been staged by subsidized theaters as National Theatre and Istanbul Municipality City Theatre among many private theaters. These translations Sırça Kümes translated by Can Yücel and Sırça Hayvan Koleksiyonu translated by Aytuğ İzat, have been studied with the theoretical framework of André Lefevere's approach taking all translations as rewritings. Two translators' decisions have been observed by reading the target texts and the source texts according to Marilyn Gaddis-Rose's 'stereoscopic reading' framework and the interpretation and different translation perceptions have been classified. Furthermore, interviews made with translators Can Yücel and Aytuğ İzat have been studied carefully in order to identify their translator identifications and statements. Translators decisions detected in target texts and translators statements about translation have been handled together and the reading journey has been made between the two different target texts and source text has been explicated according to total evolution. Keywords: rewriting, stereoscopic reading, play text, stage text, dramatic text translation.
In this work, two translations of The Glass Menagerie, has been studied. The Glass Menagerie, a play about three character family's life struggles during Great Depression which has followed The World War One and the great problem which has been triggered by the 'guest' welcomed by the family, was written by one of the leading playwrights of American Theatre, Tennessee Williams and has been translated to Turkish by two different translators and this two translations have been residing in Turkish Literature system as published by Ministry of National Education Publishing and Mitos Boyut Publishing. The plays have been staged by subsidized theaters as National Theatre and Istanbul Municipality City Theatre among many private theaters. These translations Sırça Kümes translated by Can Yücel and Sırça Hayvan Koleksiyonu translated by Aytuğ İzat, have been studied with the theoretical framework of André Lefevere's approach taking all translations as rewritings. Two translators' decisions have been observed by reading the target texts and the source texts according to Marilyn Gaddis-Rose's 'stereoscopic reading' framework and the interpretation and different translation perceptions have been classified. Furthermore, interviews made with translators Can Yücel and Aytuğ İzat have been studied carefully in order to identify their translator identifications and statements. Translators decisions detected in target texts and translators statements about translation have been handled together and the reading journey has been made between the two different target texts and source text has been explicated according to total evolution. Keywords: rewriting, stereoscopic reading, play text, stage text, dramatic text translation.
Description
Keywords
Mütercim-Tercümanlık, Tiyatro, Translation and Interpretation, Tiyatro oyunları, Theatre, Yeniden yazmak, Theater plays, Rewriting, Çeviri, Translation