THE MASK OF GENDER IN TOP GIRLS AND KADIN ERKEKLEŞİNCE (WHEN WOMAN BECOMES A MAN)
THE MASK OF GENDER IN TOP GIRLS AND KADIN ERKEKLEŞİNCE (WHEN WOMAN BECOMES A MAN)

Summary/Abstract: “Social issues like gender perception have always played a remarkable role in theatre not only in the Western world, but in Turkey as well, and for this reason the matter of woman on stage has been one of the most frequently addressed issues. Woman has always been trapped within her femininity by patriarchy that does embrace a dualistic approach degrading women into the other and abnormal, thus allowing no space for women to express themselves, while dignifying men as the standard and transcendent. Away from correcting the misjudgment related to their position in society, women are rather forced to represent the alleged justice of male power which does marginalize women on stage as well as in life. Such an oppressive stance leads women to masquerade their femininities in order to take a place in the society. However, gendered behaviors are not natural; rather they are imposed upon individuals as normative heterosexuality. In other words, gender can be defined as fiction which is constructed by society and is open to change. In this study, the gender roles imposed upon women are discussed. To achieve this aim, a brief assessment about women’s representation in English and Turkish theatres as well as their position in private and public spheres is discussed. In line with this purpose, the plays Kadın Erkekleşince (When Woman Becomes a Man) by Hüseyin Rahmi Gürpınar and Top Girls by Caryl Churchill are analyzed with reference to the performative acts theory of Judith Butler.”

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