{"id":6620,"date":"2019-02-05T13:35:08","date_gmt":"2019-02-05T11:35:08","guid":{"rendered":"https:\/\/baraka.cc\/?p=6620"},"modified":"2019-02-05T13:35:08","modified_gmt":"2019-02-05T11:35:08","slug":"brechtin-savas-karsitligi-ve-frankin-olumu-tahsin-oygar","status":"publish","type":"post","link":"https:\/\/baraka.cc\/?p=6620","title":{"rendered":"Brecht\u2019in Sava\u015f Kar\u015f\u0131tl\u0131\u011f\u0131 ve Frank\u2019\u0131n \u00d6l\u00fcm\u00fc- Tahsin Oygar"},"content":{"rendered":"

\u00a0 Bertolt Brecht’i incelemeye ald\u0131\u011f\u0131m\u0131z\u00a0 Argasdi’nin 53. say\u0131s\u0131nda, Brecht’in en \u00e7ok bilinen y\u00f6n\u00fc sava\u015f kar\u015f\u0131tl\u0131\u011f\u0131yla belki de hi\u00e7 bilinmeyen y\u00f6n\u00fc\u00a0 baba olmas\u0131n\u0131n kesi\u015fme noktalar\u0131n\u0131 bulaca\u011f\u0131n\u0131z bir makaleyle kar\u015f\u0131n\u0131zday\u0131z. Tahsin Oygar taraf\u0131ndan kaleme al\u0131nan ve \u015fiirlerle bezenen bu etkileyici yaz\u0131y\u0131 mutlaka okumal\u0131s\u0131n\u0131z. Argasdi’ye 10 TL kar\u015f\u0131l\u0131\u011f\u0131nda Baraka K\u00fclt\u00fcr Merkezi’nden, Khora Kitabevlerinden ve t\u00fcm gazete bayiilerinden ula\u015fabilirsiniz.<\/em><\/p>\n

\"BrechtveOglu\"<\/a>Frank, Frank\u2019\u0131n \u00f6l\u00fcm\u00fcnden dokuz ay sonra do\u011fdu. I. Payla\u015f\u0131m Sava\u015f\u0131 (D\u00fcnya Sava\u015f\u0131) t\u00fcm deh\u015feti ile s\u00fcrerken Bertolt Brecht Peutinger Lisesi\u2019nde \u00f6\u011frenci idi. Lise y\u0131llar\u0131nda tan\u0131m\u0131\u015ft\u0131 Frank Wedekind\u2019\u0131. Wedekind hukuk fak\u00fcltesi bitirmi\u015f, hukuk yerine \u015fiire, tiyatroya y\u00f6nelmi\u015f bir yazard\u0131. Bu yazar\u0131n sava\u015f kar\u015f\u0131t\u0131 \u015fiirlerinin yan\u0131 s\u0131ra burjuva ahlak\u0131n\u0131n sa\u00e7mal\u0131klar\u0131n\u0131, k\u00fc\u00e7\u00fck burjuvalar\u0131n yozla\u015fmalar\u0131n\u0131, insan\u0131n cinselli\u011finin d\u00fcrt\u00fcselli\u011fine olan ba\u011fl\u0131l\u0131\u011f\u0131n\u0131 konu alan oyunlar\u0131 da vard\u0131. Tiyatro anlay\u0131\u015f\u0131 ise d\u0131\u015favurumcu ve nat\u00fcralistti. O d\u00f6nemlerde Brecht, s\u0131k\u0131 bir Wedekind hayran\u0131 ve takip\u00e7isi olmu\u015ftu. Sava\u015f y\u0131llar\u0131nda d\u00f6nemin Alman politikac\u0131lar\u0131 Wedekind\u2019in baz\u0131 oyunlar\u0131n\u0131 sava\u015f\u0131n bitimine kadar yasaklam\u0131\u015ft\u0131. 1914\u2019te I. Payla\u015f\u0131m Sava\u015f\u0131\u2019n\u0131n ba\u015flamas\u0131 yakla\u015ft\u0131k\u00e7a, \u00fclkede sava\u015f \u00e7\u0131\u011f\u0131rtkanl\u0131\u011f\u0131, kulaklar\u0131 sa\u011f\u0131r, g\u00f6zleri k\u00f6r edecek kadar \u015fiddetlenmi\u015fti. Brecht 16 ya\u015f\u0131nda idi. Peutinger Lisesi, sava\u015f \u00e7\u0131\u011fl\u0131klar\u0131n\u0131n hakl\u0131l\u0131\u011f\u0131n\u0131 ve gen\u00e7lerin fikirsel olarak sava\u015fa haz\u0131rlanmas\u0131n\u0131 \u00f6n\u00fcne koymu\u015ftu ki sava\u015f\u0131 g\u00fczellemesi i\u00e7in \u00f6\u011frencilerine kompozisyonlar yazd\u0131rmaya ba\u015flam\u0131\u015ft\u0131 bile. Gen\u00e7 Brecht, Horatius\u2019un “Anavatan i\u00e7in \u00f6lmek ho\u015f ve onurludur”<\/i> s\u00f6z\u00fcn\u00fc al\u0131p etkileyici bir kompozisyon yazd\u0131. K\u0131saca Horatius, M\u00d6. 65 \u2013 8 y\u0131llar\u0131 aras\u0131nda ya\u015fam\u0131\u015f Romal\u0131 bir asker ve \u015fairdi. Horatius\u2019un bu s\u00f6z\u00fc s\u00f6yledikten sonra kat\u0131ld\u0131\u011f\u0131 bir sava\u015fta yenilginin hemen ard\u0131ndan kalkan\u0131n\u0131 dahi b\u0131rak\u0131p ka\u00e7t\u0131\u011f\u0131 s\u00f6ylenir. Brecht de kompozisyonunda \u201cAnavatan i\u00e7in \u00f6lmek ho\u015f ve onurludur laf\u0131 Horatius\u2019un da sonradan anlad\u0131\u011f\u0131 gibi (!) zenginleri daha zengin yapmak isteyenlerin veya bo\u015f kafal\u0131lar\u0131n ra\u011fbet etti\u011fi bir propaganda slogan\u0131d\u0131r\u201d<\/i> diyerek belki de sava\u015f kar\u015f\u0131t\u0131 ilk eserini yazm\u0131\u015ft\u0131r. I. Payla\u015f\u0131m Sava\u015f\u0131\u2019n\u0131n bitmesine k\u0131sa bir s\u00fcre kala Mart 1918\u2019de Frank Wedekind \u00f6l\u00fcr. Cenaze t\u00f6renine kat\u0131lan Brecht, Wedekind\u2019\u0131n oyunlar\u0131n\u0131 yasaklayan politikac\u0131lar\u0131 orada g\u00f6r\u00fcnce olduk\u00e7a i\u00e7erler ve \u015f\u00f6yle der: “Cesedin etraf\u0131nda d\u00f6nen le\u015f yiyici akbabalar gibi silindir seklindeki \u015fapkalar\u0131n i\u00e7inde kafalar\u0131 kar\u0131\u015f\u0131k durdular”<\/i> ve bu olaydan dokuz ay sonra d\u00fcnyaya gelen o\u011flunun ad\u0131n\u0131 Frank koyar.<\/p>\n

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Brecht\u2019in gen\u00e7 ya\u015flarda etkile\u015fim ve hayranl\u0131klarla olu\u015fan sava\u015f kar\u015f\u0131tl\u0131\u011f\u0131, giderek hem teorik olarak Marksizm\u2019den hem de pratikte iki Payla\u015f\u0131m Sava\u015f\u0131\u2019na tan\u0131kl\u0131k eden hayat\u0131 dolay\u0131s\u0131yla olduk\u00e7a geli\u015fti ve m\u00fcthi\u015f eserlere d\u00f6n\u00fc\u015ft\u00fc. Sanat\u00e7\u0131n\u0131n sava\u015f kar\u015f\u0131t\u0131 eserlerinin bu denli basit, anla\u015f\u0131l\u0131r ve de etkileyici olmas\u0131n\u0131n sebebi san\u0131r\u0131m bu donan\u0131m\u0131d\u0131r. Genel olarak eserlerinde sava\u015f\u0131n yere g\u00f6\u011fe s\u0131\u011fd\u0131r\u0131lamayan, ulvi ve kutsal s\u00f6ylemlerle s\u00fcslenmi\u015f yan\u0131n\u0131n sa\u00e7mal\u0131\u011f\u0131n\u0131 kan\u0131tlay\u0131p egemenlerin ipli\u011fini pazara \u00e7\u0131karmaktad\u0131r. \u00d6rnek verecek olursak: \u2026 \/ G\u00fczel bir g\u00fcnde emri geldi. \/ Haz\u0131r etti \u00e7antas\u0131n\u0131, g\u00fcneye do\u011fru koyuldu yola. \/ Bir fatihti karde\u015fim. \/ Yerimiz yoktu ya\u015famaya. \/ Topraklar ele ge\u00e7irmekti \u00f6teden beri hayalimiz. \/ Karde\u015fimin fethetti\u011fi yer \u015fimdi Guadarama da\u011flar\u0131nda. \/ Boyu tam bir seksen, derinli\u011fi bir elli.<\/i>\u00a0<\/b>\u0130\u015fte b\u00f6ylece, s\u0131radan bir insan\u0131n, ya\u015fam derdi yerine hi\u00e7bir zaman akl\u0131na bile gelmeyecek, hi\u00e7 bilmedi\u011fi bir co\u011frafyay\u0131 fetih hayalleri kuramayaca\u011f\u0131n\u0131 \u00e7arp\u0131c\u0131 bir \u015fekilde tersten g\u00f6sterdi Brecht. Fetih i\u00e7in emir alan bir fatih! Ve fethetti\u011fi \u015fey sadece mezar\u0131\u2026 Bunun d\u0131\u015f\u0131nda Brecht, insan\u0131n ya\u015fama sevinci ve arzusunu k\u00f6r\u00fcklerken, \u00f6l\u00fcm korkusunu da ortaya \u00e7\u0131karmaktan, hissettirmekten geri durmad\u0131. “Sava\u015f istiyoruz!”\u00a0\/ En \u00f6nce vuruldu \/ bunu yazan<\/i>. O d\u00f6nemin egemenleri i\u00e7in kazan\u0131lan zaferlerle de elinden geldi\u011fince dalga ge\u00e7ip, bu haks\u0131z sava\u015flar\u0131n kazanan\u0131n\u0131n halklar olmad\u0131\u011f\u0131n\u0131 ortaya koydu. \u00a0Ak\u015fam sava\u015f alan\u0131na \u00e7\u00f6kt\u00fc\u011f\u00fcnde \/ D\u00fc\u015fmanlar yenilmi\u015fti\u00a0\/ Telgraf tellerinin t\u0131n\u0131lar\u0131\u00a0\/ Haberi uzaklara ta\u015f\u0131d\u0131 \/ D\u00fcnyan\u0131n bir ucunda i\u00e7in i\u00e7in yand\u0131 \/\u00a0Bir hayk\u0131r\u0131\u015f, g\u00f6kkubbede par\u00e7alanarak \/\u00a0Bir \u00e7\u0131\u011fl\u0131k, \u00e7\u0131lg\u0131n a\u011f\u0131zlardan ta\u015fan \/ Ve esrik g\u00f6\u011f\u00fc a\u015fan. \/ Bin dudak ilen\u00e7le soldu\u00a0\/ Bin yumruk, vah\u015fi bir \u00f6fkeyle s\u0131k\u0131ld\u0131. \/ D\u00fcnyan\u0131n bir ba\u015fka ucunda \/\u00a0Bir sevin\u00e7, g\u00f6kkubbede par\u00e7alanarak\u00a0\/ B\u00fcy\u00fck bir sevin\u00e7, bir e\u011flence, bir \u00e7\u0131lg\u0131nl\u0131k \/\u00a0Rahat bir soluklanma, gerinme \/\u00a0Bin dudak eski bir duay\u0131 s\u00f6yledi \/ Bin el inan\u00e7la birle\u015fti. \/ Gecenin ge\u00e7 saatlerinde \/ Say\u0131yordu telgraf telleri\u00a0\/ Sava\u015f alan\u0131nda kalan \u00f6l\u00fcleri \/\u00a0O zaman dost ve d\u00fc\u015fman sessizle\u015fti. \/ Yaln\u0131z analar a\u011flad\u0131\u00a0\/ Her iki yanda.\u00a0<\/i><\/p>\n

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Brecht\u2019in sava\u015f kar\u015f\u0131tl\u0131\u011f\u0131 bug\u00fcn\u00fcn postmodernlerinin modas\u0131 salt pasifizm veya her t\u00fcrl\u00fc \u015fiddette kar\u015f\u0131 olmak temelinde de\u011fil Marksist temelde s\u0131n\u0131f bak\u0131\u015f a\u00e7\u0131s\u0131 ile yo\u011frulmu\u015ftur. Bunun en g\u00fczel \u00f6rneklerinden biri olan\u00a0 \u201c\u00c7a\u011fr\u0131\u201d \u015fiirine bakar m\u0131s\u0131n\u0131z? \u2026 \/ Sizsiniz uluslar, kaderi d\u00fcnyan\u0131n. \/ Bilin kuvvetinizi. \/ Bir tabiat kanunu de\u011fildir sava\u015f, \/ bar\u0131\u015fsa bir arma\u011fan gibi verilmez insana:\/ Sava\u015fa kar\u015f\u0131 bar\u0131\u015f i\u00e7in \/ katillerin \u00f6n\u00fcne dikilmek gerek, \/ \u2026\u00a0 \/ indirin yumru\u011funuzu suratlar\u0131na! \/ B\u00f6ylece m\u00fcmk\u00fcn olacak sava\u015f\u0131 \u00f6nlemek. \/ Onlar demir \u00e7eli\u011fi elinde tutan birka\u00e7 ki\u015fidir, \/ \u2026 \/ para hesap eder gibi hesapl\u0131yorlar bizi\u2026 <\/i><\/p>\n

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Hen\u00fcz 16 ya\u015f\u0131nda sava\u015f kar\u015f\u0131t\u0131 bir duru\u015f geli\u015ftirmeye ba\u015flayan Bertolt Brecth, hayran oldu\u011fu Frank Wedekind\u2019in ismini koydu\u011fu o\u011flu Frank Banholzer\u2019i II. Payla\u015f\u0131m Sava\u015f\u0131\u2019nda bir bombard\u0131manda\u00a0 kaybetmi\u015ftir. O\u011flunun \u00f6ld\u00fcr\u00fcld\u00fc\u011f\u00fc zaman s\u00fcrg\u00fcnde olan Brecht, bu \u015fiiri belki de hi\u00e7kimse yak\u0131n\u0131n\u0131 b\u00f6yle kaybetmesin diye yazm\u0131\u015ft\u0131r.<\/p>\n

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H\u0130TLER SAVA\u015eININ TAR\u0130H\u0130N\u0130 TA\u015eIYAN B\u0130R MEZAR TA\u015eI<\/p>\n

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Ho\u015f g\u00f6rd\u00fcn baba, askere gitmemi,<\/i><\/p>\n

anne, beni saklamad\u0131n,
\nk\u00f6t\u00fc \u00f6\u011f\u00fctler verdin bana, a\u011fabey,
\nablac\u0131\u011f\u0131m, uyarmad\u0131n beni!\u00a0\u00a0<\/i><\/p>\n

 <\/p>\n

\u00a0<\/i><\/p>\n

 <\/p>\n

Kaynak\u00e7a:<\/i><\/p>\n

 <\/p>\n

https:\/\/tr.wikipedia.org\/wiki\/Horatius<\/i><\/p>\n

 <\/p>\n

https:\/\/www.geni.com\/people\/Frank-Banholzer\/6000000022206050498<\/i><\/p>\n

 <\/p>\n

http:\/\/www.imagi-nation.com\/moonstruck\/clsc16.htm<\/i><\/p>\n

 <\/p>\n

https:\/\/www.antoloji.com\/bertolt-brecht\/hayati\/<\/i><\/p>\n

 <\/p>\n

http:\/\/kezialogblog.blogspot.com\/2013\/11\/bertolt-brecht-timeline.html<\/i><\/p>\n

 <\/p>\n

https:\/\/www.siir.gen.tr<\/i><\/p>\n

 <\/p>\n

http:\/\/www.filozof.net\/Turkce\/edebi-sahsiyetler-kisilikler-biyografileri\/17520-frank-wedekind-kimdir-hayati-eserleri-hakkinda-bilgi.html<\/i><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 Bertolt Brecht’i incelemeye ald\u0131\u011f\u0131m\u0131z\u00a0 Argasdi’nin 53. say\u0131s\u0131nda, Brecht’in en \u00e7ok bilinen y\u00f6n\u00fc sava\u015f kar\u015f\u0131tl\u0131\u011f\u0131yla belki de hi\u00e7 bilinmeyen y\u00f6n\u00fc\u00a0 baba olmas\u0131n\u0131n kesi\u015fme noktalar\u0131n\u0131 bulaca\u011f\u0131n\u0131z<\/p>\n","protected":false},"author":7,"featured_media":6621,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[40,67,44,9,1,39],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/baraka.cc\/wp-content\/uploads\/2019\/02\/BrechtveOglu.jpg","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-1IM","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/6620"}],"collection":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6620"}],"version-history":[{"count":1,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/6620\/revisions"}],"predecessor-version":[{"id":6622,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/6620\/revisions\/6622"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/6621"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6620"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6620"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6620"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}