Akademik Veri Yönetim Sistemi
Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, cilt.1, sa.41, 2025 (Scopus, TRDizin)
Carol Ann Duffy’s Everyman (2015) appropriates a medieval morality play for the contemporary stage by shifting the emphasis from religious morality to environmental ethics. Duffy’s ecofeminist rewriting of the allegorical play, in its contemporary setting, does not criticise consumerism for harming Everyman’s soul, who is gone off his religious track, but for harming his ties with his environment to the extent of destroying nature without noticing or caring about it. Duffy shows the interconnections between androcentrism, capitalism, and the abuse of women, nature, and other marginalised beings. Therefore, contemporary Everyman is both a criticism of anthropocentrism and andro-centrism, and Everyman’s reckoning is no longer about religious immorality but about harming the environment and disregarding his part in it. This paper aims to scrutinise the transformation of a medieval morality play into an ecofeminist one, in which human’s role in the environmental crisis is questioned and criticised through the re-use of allegory and ecofeminist ethics.