LANGUAGE OF TRAUMA AND SOCIAL CRITIQUE IN THE PLAYS OF ELCHIN AND EDWARD BOND: A Comparative Study of Azerbaijani and British Drama

This article examines how two well-known playwrights from distinct historical and cultural backgrounds— Elchin and Edward Bond—represent trauma and social critique in their works. Elchin stands out as one of the most important voices of Azerbaijani literature, tackling the moral and psychological quandaries of people living within complex socio-political realities, while Bond, a prominent figure in contemporary British drama, is well-known for his radical engagement with violence, oppression, and the dehumanizing effects of social institutions. According to the study, both dramatists use different linguistic and stylistic techniques to portray trauma and critique social structures, even though they both address universal themes of human suffering and societal injustice.

Discourse analysis, trauma theory, and a comparative literary approach form the foundation of the study. Through startling dialogue, stark imagery, and confrontational stage language intended to elicit moral awareness, Bond’s works, like Saved and Lear, expose the cruelty of social systems. Conversely, Elchin’s plays, such as “Ah, Paris...Paris!” and “Telescope” reveal society’s hidden wounds and the inconsistencies in human nature through the use of metaphor, irony, and cultural allusions. By contrasting these two playwrights, the article demonstrates how the “language of trauma” serves as a vehicle for reshaping collective memory as well as a tool for social critique.

Despite their disparate forms and settings, the results indicate that Bond and Elchin share the conviction that theater should critically interact with society, forcing viewers to face difficult realities about injustice, violence, and the frailty of human life.