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Haldun Taner-Sersem Kocanın Kurnaz Karısı (1971), Pınar Kür-Küçük Oyuncu (1977) and Oğuz Atay-Oyunlarla Yaşayanlar (1985). In this study, which is evaluated by performing the works of performing arts by story, novel, theater and finally by poetry and by gualitative analysis method, the works that do not contribute to the research subject are mentioned briefiy,
Although the number of Turkish literature is not much, theatrical scenes, improvisation stages, shadow plays, public storyteller and theater-in-the- round cafes, circuses and similar performances on the world of the stage where we examine the works of the main prominent point in this article, writers, especially theater, performing arts, but the devotion and can be done with passion. Artist characters portrayed in the works take their steps to the stage with great waivers and sacrifices and struggle against all kinds of difficulties and misery.
In the works examined, it is seen that the characters whose stories are told are sad clowns, actors or acrobats who fit the portrait of “lonely and unclear artist”. These artists, who are described as distinctive types away from society, are incompatible with their outer appearance and inner world. In line with these sad and extra-social characters, it is remarkable that the works often end with a sad and bitter end, as in the case of "Komedya-Trajedya ”, Aygır Fatma, Son Sığınak, İbiş'in Rüyası, “Kumpanya” and with high ideals and great enthusiasm. This almost unchanged structure stems from the comedy-drama conflict that writers find at the core of the performing arts. However, the carnivalesgue and Dionysian aesthetics that appear in most of the works describing theaters, traveling companies, create enthusiastic, complex, pluralist / polyphonic, abundant character and abundant dialogue structures that show that the ma- terial being processed also affects the form of the work.
Finally, when we look at the authors of the works in question, it can be claimed that the writers who can be considered as 'classical', 'canonical' or “high literature ında in Turkish literature show a special interest in performing arts. Nahid Sırrı Örik, Halide Edip Adıvar, Sait Faik Abasıyanık, as well as names such as Reşat Nuri Güntekin, Haldun Taner and Oğuz Atay are the leading writers of the theater. Apart from this, it is seen that the writers who produced works in the recent period are operating on modern theater, while the older writers focus on traditional Turkish performing arts, especially the improvisation theater. In spite of their shortcomings and impossibilities, it is noteworthy that Turkish writers love traditional Turkish performing arts as entertainment forms that are about to disappear and respect their performers.
