Author(s): Filiz KESKÄ°N
Theatre’s main subject is human, it is unavoidable that it benefits from all the work on social sciences that includes human. According to the datas on psychoanalysis as a social science, it is believed that most of the work both theorical and practical on contemporary theater, –even though sometimes it stays on a experimental platform like Artaud, Grotowsky- has the necessity to get deeper on common subconciousness for achieving an “integration” on society, as Sevda ?ener mentioned. To get deeper on common subconciousness, means to come up against relious and traditional values. In the deeper layers of traditions and religions, there are legends (myths). Human culture is blended with these myths. To access a myht deep inside is taking of a mask. Because contemporary human has lost his self-integrity and collapsed. Traditional belief left its place to rationalist aprrehension. To reach the Universal, one needs to come upon the myths again. Theater’s duty is to confront human with the myhts that are hidden deep inside their culture. This is not an identification, it is a process of confrontation and to see how our questions connected to our roots (origins/ancestors). It is, to get to the lower layers and laying out what’s deeper, and thereby cracking the mask of life. One can rediscover his personal reality inside a myths’ content. Özen Yula’s play Yak?ndo?u’da Emanet (Consignation in NearEast) is a very good example for this confrontation process. In the play the world has become like hell. Adam (Human) has died and get out from the hell. The play assesses the confrontation of Adam with his shadow and the situations in the comtemporary world, in an archetypical and mythical way.
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