Varlık Olarak Edebi Sanat Eseri ve Sınırdaki Hali Olarak Tiyatro: Ontolojik Bir Yaklaşım

Abstract

Tiyatro oyun yazarı tarafından yazılmış bir metin olarak edebiyatın bir türüdür. Roman ve öykü gibi edebi türlerden ayrılan özelliği ise sahnelenmek için yazılmasıdır. Diğer edebi türler gibi kurgulanmış varlıklardan oluşan bir dünyaya sahiptir. Bu varlıklar ontolojide nesne olarak adlandırılmaktadır. Ontoloji var-olanın bilimi olarak varlık tarzları, varlık tabakaları ve varlık kategorileriyle ilgilenen bir çağdaş felsefe görüşüdür. Bu bakımdan kategorilerin analizini yapan bir sistemdir. Konusu varlık olan var-olanın, nasıl bir varlık olduğunu anlamayı amaçlamaktadır. Alt dalı olan sanat ontolojisi ise sanat eserinin nasıl bir varlık olduğunu anlamaya ve açıklamaya çalışmaktadır. Sanat eserini bir estetik obje olarak ele alan ontoloji, sanatı türlerine göre özellikleri ve varlık tabakaları bakımından sınıflandırmaktadır. Edebiyatın bir türü olarak tiyatro ontolojik olarak iki varlık alanına ait olarak kabul edilebilecektir. Bunlardan biri edebi metin diğeri de onun sınırdaki hali olan sahnelenmiş tiyatro oyunudur. Polonya’lı estetikçi Roman Ingarden tiyatroyu edebiyatın sınırdaki hali olarak tanımlamıştır. Bu makale Ingarden’in bu tanımından yola çıkarak tiyatroyu, salt metin ve sahnelenmiş oyun olarak karşılaştırmakta ve ontolojik olarak anlamaya çalışmaktadır. Bunu yaparken yeni ontolojinin kurucusu Nicolai Hartmann ve Türk düşünür İsmail Tunalı’nın değerlendirmelerinden faydalanmaktadır. Ayrıca edebiyat ve tiyatronun varlık alanlarını netleştirmek için son başlıkta erken dönem filozoflarından günümüze, mümkün dünya kavramını da göz önünde bulundurmaktadır. Bu tartışmanın amacı, bir edebi tür olarak tiyatro oyununun metin hali ve sahnelenmiş halinin varlık alanlarını ayrıştırarak tiyatronun hangi özellikleriyle sınırda olarak kabul edildiğini ortaya koymaktır.

Theatre is a type of literature as a text written by a playwright. It’s distinguishing feature from literary genres such as novels and short stories is that it is written to be staged. Like other literary genres, it has a world consisting of fictionalised beings. These entities are called objects in ontology. Ontology is a contemporary philosophical view that deals with modes of entity, strata of entity and categories of entity as the science of existent. In this respect, it is a system that analyses categories. It aims to understand what kind of entity the existent is. Art ontology tries to understand and explain what kind of entity the work of art is. Considering the work of art as an aesthetic object, ontology classifies art in terms of its characteristics and layers of entity according to its types. As a genre of literature, theatre can be ontologically accepted as belonging to two spheres of entity. One of these is the literary text and the other is the staged theatre play which is it’s borderline form. The Polish aesthete Roman Ingarden defined theatre as the borderline form of literature. Based on Ingarden's definition, this article compares theatre as pure text and staged play and tries to understand them ontologically. In doing so, this article makes use of the evaluations of Nicolai Hartmann, the founder of the new ontology, and the Turkish philosopher İsmail Tunalı. In addition, the last chapter considers the concept of the possible worlds from early philosophers to the present day in order to clarify the spheres of entity of literature and theatre. The aim of this discussion is to differentiate the spheres of entity of the theatre play as a literary genre in its textual and staged form and to reveal which features of the theatre are considered as borderline. Structured Abstract: This article examines theatre as a genre of literature, both in its textual and staged form, with an ontological approach. It investigates how the theatre differs as an ontic entity from its textual form. The Polish aesthete Roman Ingarden defined theatre as the borderline state of the literary work of art. The reason for this is that the staged theatre play moves from the text’s sphere of entity to another sphere of entity. This makes theatre, the subject of ontological research, which deals with the fields and categories of entity. Although Ingarden defined theatre as a borderline form of literature in his book Literary Work of Art, he did not dwell on too many examples. In addition, he mainly dealt with the theatre text in terms of language. In this respect, discussing the staged theatre play by giving examples from different plays will contribute to Ingarden's claim. Researchers in the field will be able to see the counterpart of this claim clearly. Ontology is a contemporary philosophical view that deals with modes of entity, strata of entity and categories of entity as the science of existent. In this respect, it is a system that analyses categories. Nicolai Hartmann, the founder of the new ontology, stated that ontology is an evaluation made by utilising information from various disciplines. This reveals that ontology should know the scientific views and results of the age. Art ontology, on the other hand, tries to understand and explain what kind of entity the work of art is. Considering the work of art as an aesthetic object, it classifies art in terms of its characteristics and layers of existence according to its types. Roman Ingarden and Nicolai Hartmann were the first to question what kind of entity the work of art is, paving the way for subsequent studies. Ingarden's definition of theatre as the borderline form of the literary work of art gave rise to this article’s discussion question. What kind of entities are these two? For the answer to this question, an ontological comparison between the textual and the staged form of theatre has been made. Roman Ingarden was the first to initiate a discussion on the existence of the work of art. Ingarden, applied the idea of strata in aesthetics and literature for the first time while explaining what kind of an entity a work of literature is. He focused on the real object and the irreal object in his investigation of what kind of an object a literary work is. A work of literature, like a work of art, has a stratified structure. Within this structure, the ideal (irreal) entity is realised in the real entity. According to Ingarden, there are four different layers in the work of literature. These are word sounds and sound structures based on them, which indicate a higher level, a layer of different degrees of unity of meaning, a layer of different schematic views, and a layer of depicted things (objects, people and events) and their destinies. Each layer has its own role. This means that it forms the unified character of the work. While word and meaning form the context with each other, the aesthetic function of the layer of meaning comes to the fore because meaning in a work of art is what transmits the receiver to the aesthetic sphere. Nicolai Hartmann, on the other hand, divided the work of art into real front structure and irreal back structure. As can be understood, the front structure is material, that is, signified, while the back structure is an immaterial and, at best, intuited irreal entity. Hartmann described the front structure as homogeneous in terms of words and language, and the back structure as a heterogeneous area consisting of a number of layers. The work, which deepens towards the back structure, eventually forms an irreal field. According to Hartmann, the foremost layer is the layer that can be perceived by the senses. In this view, Hartmann refers to the staged version of the theatre play. In those terms the article uses Ingarden and Hartmann’s evaluation as primary sources and also the Turkish philosopher İsmail Tunalı as a secondary source. This study also considers the concept of the possible world from early philosophers to t