SavedAdd your journal

Journals / Karadeniz Sosyal Bilimler Dergisi / 2026 / Cilt: 18 Sayı: 34

Temporal and Spatial Values in Philip Ridley’s Storyteller Series Plays: An Analysis within the Context of Bakhtin’s Chronotope Theory

Philip Ridley’in Hikâye Anlatıcısı Serisi Tiyatro Oyunlarında Zamansal ve Uzamsal Değerler: Bakhtin’in Kronotop Kuramı Bağlamında Bir İnceleme

Uğur Ada(GAZİOSMANPAŞA ÜNİVERSİTESİ EĞİTİM FAKÜLTESİ YABANCI DİLLER EĞİTİMİ BÖLÜMÜ İNGİLİZ DİLİ EĞİTİMİ ANA BİLİM DALI)0000-0002-0346-0753
Pages
124–145
Publication Date
2026-06-25
🏛️Bibliographic metadata and full text access for this article are provided via DergiPark.
DergiPark Record ↗
✨

AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

Within this context, the study interprets Ridley’s youth theatre dramaturgy as a chronotopic stage aesthetics that integrates individual and collective experiences, thereby opening the playwright’s storytelling ritual to interdisciplinary debates within the framework of contemporary youth theatre.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:The study examines Philip Ridley’s Storyteller Series theatre plays within the framework of Mikhail Bakhtin’s chronotope theory, exploring how these works, written for young audiences and performers, stage the interplay between individual experience and collective memory through temporal and spatial values.
📊
Key Findings & Data:In the plays Karamazoo, Sparkleshark, Moonfleece, Fairytaleheart, and Brokenville, the narrative functions of temporal and spatial values are systematically classified and analysed as spatial, motif, and value chronotopes.
💡
Conclusion & Impact:Within this context, the study interprets Ridley’s youth theatre dramaturgy as a chronotopic stage aesthetics that integrates individual and collective experiences, thereby opening the playwright’s storytelling ritual to interdisciplinary debates within the framework of contemporary youth theatre.
🔬Design:Araştırma Makalesi
📍Scope:Comprehensive Sample
⚙️Variables:Tiyatro · Philip Ridley · M. Bakhtin

Abstract

The study examines Philip Ridley’s Storyteller Series theatre plays within the framework of Mikhail Bakhtin’s chronotope theory, exploring how these works, written for young audiences and performers, stage the interplay between individual experience and collective memory through temporal and spatial values. In the plays Karamazoo, Sparkleshark, Moonfleece, Fairytaleheart, and Brokenville, the narrative functions of temporal and spatial values are systematically classified and analysed as spatial, motif, and value chronotopes. Through the shared means of storytelling, the chronotopes of the provincial town and corner (spatial) reveal the experiences of belonging and alienation between personal memory and social transformation while the chronotopes of encounter and threshold (motif) foreground the moments of rupture and reconstruction in the identity formation of young people transitioning into adulthood. Correspondingly, the chronotopes of equality and collaboration (value) bring to the fore a social process in which differences are negotiated horizontally, enabling the creation of shared narratives. Within this context, the study interprets Ridley’s youth theatre dramaturgy as a chronotopic stage aesthetics that integrates individual and collective experiences, thereby opening the playwright’s storytelling ritual to interdisciplinary debates within the framework of contemporary youth theatre.

Özet

Araştırma, Philip Ridley’in Hikâye Anlatıcısı Serisi tiyatro oyunlarını Mikhail Bakhtin’in kronotop kuramı çerçevesinde incelemekte olup genç izleyiciler ve oyunculara yönelik söz konusu eserlerde bireysel deneyimlerle toplumsal belleğin nasıl zamansal ve uzamsal değerler aracılığıyla sahneye taşındığını irdelemektedir. Seride yer alan Karamazoo, Sparkleshark, Moonfleece, Fairytaleheart ve Brokenville oyunlarında zamansal ve uzamsal değerlerin anlatısal işlevleri uzamsal, motif ve değer kronotopları olarak sınıflandırılarak ayrıntılı şekilde değerlendirilmiştir. Eserlerin ortak paydası olan hikâye anlatıcılığı aracılığıyla taşra ve köşe kronotopları (uzamsal), bireysel bellek ile toplumsal dönüşüm arasındaki aidiyet ve yabancılaşma deneyimlerini görünür kılarken; karşılaşma ve eşik kronotopları (motif) yetişkinliğe doğru adım atmakta olan gençlerin kimlik oluşumunda kırılma ve yeniden yapılanma anlarını ortaya çıkarmaktadır. Buna koşut olarak eşitlik ve işbirliği kronotopları (değer), farklılıkların yatay düzlemde müzakere edildiği ve ortak anlatıların yaratılmasını sağlayan bir toplumsal süreç ön plana çıkarır. Bu çerçevede, araştırma Ridley’in gençlik tiyatrosu dramaturjisini bireysel ve toplumsal deneyimleri bir araya getiren kronotopik bir sahne estetiği olarak analiz ederek oyun yazarının hikâye anlatıcılığı ritüelini çağdaş gençlik tiyatrosu temelinde disiplinler arası tartışmalara açmaktadır.

🔖

Cite This Article

Ada, U. (2026). Temporal and Spatial Values in Philip Ridley’s Storyteller Series Plays: An Analysis within the Context of Bakhtin’s Chronotope Theory. Karadeniz Sosyal Bilimler Dergisi, Cilt: 18 Sayı: 34, 124–145. https://doi.org/10.38155/ksbd.1786620

📄 Full Text PDF Viewer

📄

PDF görüntüleyici hazırlanıyor...

References (46)

  1. Akbal Süalp, Z. Tül. (2004). Zamanmekân (kuram ve sinema). Bağlam Yayıncılık.
  2. Altay Erişen, B. (2015). Nuri Bilge Ceylan filmlerinin Bahtin’in kronotop kavramı ile incelenmesi (Yayımlanmamış Yüksek Lisans Tezi). Ankara Üniversitesi.
  3. Bachelard, G. (1996). Mekânın poetikası. Kesit.
  4. Bağırlar, B. (2019). Youth violence on the British stage: In-yer-face theatre. Rumeli Dil ve Edebiyat Araştırmaları Dergisi, (16), 604-615. https://doi.org/10.29000/rumelide.619333
  5. Bakhtin, M. M. (1981). Forms of time and of the chronotope of the novel. M. M. Bakhtin, The dialogic imagination: Four essays içinde (Trans. Caryl Emerson and Michael Holquist). University of Texas Press.
  6. Bakhtin, M. (1986). Speech genres and the other late essays. University of Texas Press.
  7. Bakhtin, M. (2001). Karnavaldan romana / Edebiyat teorisinden dil felsefesine seçme yazılar. Ayrıntı Yayınları. Cambridge Dictionary (t.y.). Renaissance man. Erişim adresi: https://dictionary.cambridge.org/tr/s%C3%B6zl%C3%BCk/ingilizce/renaissance-man
  8. Cavenaugh, G. L. (2004). Flesh and spirit onstage: Chronotopes of performance in medieval English theatre. (Unpublished PhD Thesis). Louisiana State University.
  9. Collington, T., Collington, P. (2014). The time when … The place where: Chronotopes and chronologies in Love’s Labour’s Lost. Studies in Philology, 111(4), 786-820. https://doi.org/10.1353/sip.2014.0027
  10. Çeker, A., Belge, R. (2015). İstanbul’da kentsel dönüşüm kapsamında gerçekleşen bir olgu: Soylulaştırma. Türk Coğrafya Dergisi, (65), 77-86. https://doi.org/10.17211/tcd.30494
  11. Çelik, N. (2014). Çağdaş oyunlarda şiddet: Philip Ridley Kürklü Merkür, Anthony Neilson Sokucu, Martin Mcdonagh Yastık Adam (Yayımlanmamış Yüksek Lisans Tezi). Erciyes Üniversitesi.
  12. Derin, O. E. (2025). Chronotope, dialogue, and simulation: A new perspective on Memet Baydur’s ’Kamyon’. Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 42(1), 326-340. https://doi.org/10.32600/huefd.1564111
  13. Dominte,C. (2013). The stage as the chronotope of memory. University of Buchares Review, 3(2), 73-79. https://ubr.rev.unibuc.ro/wp-content/uploads/2014/12/CarmenDominte.pdf
  14. Gardner, L. (2000, 5 February). Tingles among the tower blocks. The Guardian. https://www.theguardian.com/books/2000/feb/05/booksforchildrenandteenagers
  15. Gezeroğlu, S. (2015). Nezihe Meriç’in öykülerinde kronotopu (Yayımlanmamış Yüksek Lisans Tezi). Nevşehir Hacı Bektaş Veli Üniversitesi.
  16. Gündoğdu, B. (2016). Violence and melancholia: The story of melancholic “Butterfly” generation. International Journal of Social Sciences and Education Research, 2(2), 355- 363. https://doi.org/10.24289/ijsser.279049
  17. Holquist, M. (2002). Dialogism: Bakhtin and his world. Routledge.
  18. Irzık, S. (2001). Önsöz. M. Bakhtin, Karnavaldan romana / Edebiyat teorisinden dil felsefesine seçme yazılar içinde (ss. 7-32). Ayrıntı Yayınları.
  19. Ingham, M., & Dimitrova, M. (2026). ‘What Now Ensues’: Nowness, the chronotope and ritualistic atemporality in Pericles, Prince of Tyre. Shakespeare, 1-17. https://doi.org/10.1080/17450918.2026.2657447
  20. Jupp, E., Ridley, P. (2016, 2 June). Philip Ridley on how to combat Donald Trump, his love of Jude Law, his new fantasy play Karagula and how he’s fascinated by other people’s conversations. Interview. The Independent. https://www.independent.co.uk/arts-entertainment/theatre-dance/philip-ridley-on-how-to-combat-donald-trump-his-love-of-jude-law-hisnew-fantasy-play-karagula-anda7061911.html
  21. Kębłowska-Ławniczak, Ewa. (2015). Gentrification, revitalisation and storytelling: Constructions of the East End in selected writings by Philip Ridley. Moderne Sprachen, 149-165.
  22. Lawson, J. (2011). Chronotope, story, and historical geography: Mikhail Bakhtin and the space-time of narratives. Antipode, 43(2), 384-412. https://doi.org/10.1111/j.1467-8330.2010.00853.x
  23. Matthews, P. (2012, 10 December). Interview: Philip Ridley, telling stories. British Theatre. https://www.britishtheatre.com/posts/interview-philip-ridley-telling-stories
  24. McCaw, D. (2016). Bakhtin and theatre: Dialogues with Stanislavsky, Meyerhold and Grotowski. Routledge.
  25. Mulligan, J. (1997). Dreaming the sparkling monster. The collected interviews of Jim Mulligan. https://www.jimmulligan.co.uk/node/555
  26. Mulligan, J. (2004). Love, loss and our true skin. The collected interviews of Jim Mulligan. https://www.jimmulligan.co.uk/node/556
  27. Newland P. (2008). The cultural construction of London’s East End. Rodopi.
  28. Oldham, T. (2020). Philip Ridley: Still In-Yer-Face. C. Boles (Ed.), After In-Yer-Face içinde (ss. 171-200). Palgrave Macmillan.
  29. Parla, J. (2007). Don Kişot’tan bugüne roman. İletişim Yayınları.
  30. Pushkin, M. (2017). Critical analysis of Bakhtin’s chronotope. Humanitas, 5(10), 435-447.
  31. Rebellato, D. (2011). Philip Ridley. M. Middeke, P. P. Schnierer & A. Sierz (Eds.), The Methuen drama guide to contemporary British playwrights içinde. Methuen Drama.
  32. Ridley, P. (1998a). Fairytaleheart. P. Ridley, Two plays for young people içinde (ss. 1-62). Faber and Faber.
  33. Ridley, P. (1998b). Sparkleshark. P. Ridley, Two plays for young people içinde (ss. 63-126). Faber and Faber.
  34. Ridley, P. (2003). Brokenville. Anonymous, National Theatre Shell connections 2003 içinde (ss. 1-86). Faber and Faber.
  35. Ridley, P. (2004). Moonfleece. Anonymous, National Theatre Shell connections 2004 içinde (ss. 415-504). Faber and Faber.
  36. Ridley, P. (2015a). The storyteller sequence. Bloomsbury.
  37. Ridley, P. (2015b). Karamazoo. P. Ridley, The storyteller sequence içinde (ss. 1-30). Bloomsbury.
  38. Ridley, P. & Sierz, A. (2009). Putting a new lens on the world: The art of theatrical alchemy. New Theatre Quarterly, 25(2), 109-117. https://doi.org/10.1017/S0266464X09000207
  39. Sierz, A. (2001). In-yer-face theatre: British drama today. Faber and Faber.
  40. Sierz, A. (2009). Suratına tiyatro, Britanya’da in-yer-face tiyatrosu. Mitos Boyut Yayınları.
  41. Sierz, A. (2012). Modern British playwriting: 1990s. Bloomsbury Publishing
  42. Steinby, L. (2013). Bakhtin’s concept of the chronotope: The viewpoint of an acting subject. L. Steinby & T. Klapuri, Bakhtin and his others içinde (ss. 105-125). Anthem Press.
  43. Urban, K. (2007). Ghosts from an Imperfect Place: Philip Ridley's Nostalgia. Modern Drama, 50(3), 325-345. https://dx.doi.org/10.1353/mdr.2007.0063
  44. Wyllie, A. (2013). Philip Ridley and memory. Studies in Theatre and Performance, 33(1), 65–75. https://doi.org/10.1386/stap.33.1.65_1
  45. Yıldırım, Ö. (2021). 2000 yılından sonra Türk sinemasındaki yol filmlerinin Mikhail Bakhtin’in kronotop kavramı bağlamında incelenmesi (Yayımlanmamış Yüksek Lisans Tezi). Ordu Üniversitesi.
  46. Dominte,C. (2013). The stage as the chronotope of memory. University of Buchares Review, 3(2), 73-79. https://ubr.rev.unibuc.ro/wp-content/uploads/2014/12/CarmenDominte.pdf