SN: 2548-0472
2020-15:
Yeni Türk Edebiyatında Bir Kurmaca Ögesi Olarak Tiyatro ve Diğer Sahne Sanatları
Exlended Summary
The course of the theater, which we have described to this point, is specific to norvartistic theaters, especially the improvisation theaters, where the tra- ditional Turkish performing arts in Old Istanbul are exhibited and the Westem influence is relatively broken. As can be seen in our study, the theaters and the- atrical actors considered in the fictional works belong to this world. In particu- lar, the characters in novels, stories and plays are good audiences of Westem influenced theater. The fictional heroes Darülbedayi (Home of Fine Arts), who appeared to be the regulars of the scenes in Pera and often caught up with the first theater enthusiasm, followed the Armenian companies such as Mınakyan, Binemeciyan, Şahinyan, masters such as Ahmet Fehim Efendi, Muhsin Ertugrul and Burhanettin Tepsi. However, the theater they tıy to put forward is mostiy the plays that they think the locals and the people can adopt. In this respect, it can be seen from the examples in our study that the authors of the performing arts (with the exception of recent writers) are closer to the traditional Turkish theater than to the Western-influenced Turkish theater; theather-in-the-round, improvisation, can be said to process species such as shadow plays. Accord- ingly, the center of gravity of the study is inevitabiy traditional Turkish theater.
After complaining about the shortage of fictional works describing the world of theater in the foreword Özgül asks in Nahid Sırrı Örik's Yıldız Olmak Kolay mı? “Isn't it interesting that musicians, painters, sculptors, stage artists and writers cannot carry their tragedies into their own art?” (2009. 7). In this sense, Turkish literature partially rejects this guestion with its works as there is alist of writer characters from Müşâhedâi's (1891) writer / narrator person to Kar's (Snow, 2002) poet character 'K.' in the Turkish literature, a wide range of writers / poets character (Parla: 201 1). However, this abundance is difficult to find in nor-literary arts. Above, a small number of literary writers such as Güntekin, whose love and appreciation for theater art and theatrical actors, have written behind the scenes of the performing arts, have experienced problems of creating, creating and interpreting the artists. The works covered in this study are as follows: Samipaşazâde Sezai-“Pandomima” (1892), Nahid Sırrı Örik- “Komedya-Trajedya” (1932), Halide Edip Adıvar-Sinekli Bakkal (1936), Osman Cemal Kaygılı-Aygır Fatma (1938), Sait Faik Abasıyanık-“Kumpanya” and other short stories (1951), Edip Cansever-"Şehre Gelen Palyaço”(1948), Turgut Uyar-"Tel Cambazının Tel Üstündeki Durumunu Anlatır Şiirdir” ve diğer şiirler (1959), Reşat Nuri Güntekin-Son Sığınak (1961), Tarık Buğra-İbiş'in Rüyası (1970),
