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Dissertation / Doctoral Thesis DISSERTATION / DOCTORAL THESIS Titel der Dissertation /Title of the Doctoral Thesis „Karagiozis – Schattenspiel und Politik: Der griechische Karagiozisspieler Sotiris Spatharis“ verfasst von / submitted by Mag. Fatma Peri Efe angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Doktorin der Philosophie (Dr. Phil.) Wien, 2017 / Vienna 2017 Studienkennzahl lt. Studienblatt / A 092 383 degree programme code as it appears on the student record sheet: Dissertationsgebiet lt. Studienblatt / Byzantinistik und Neogräzistik field of study as it appears on the student record sheet: Betreut von / Supervisor: Univ. Prof. Dr. Maria A. Stassinopoulou DANKSAGUNG Die Vorbereitungen für diese Arbeit, zu denen auch einige Publikationen zum Thema gehörten, erstreckten sich über eine lange Periode, die Niederschrift meiner Dissertation hingegen erfolgte binnen eines Jahres und fiel, wie ich leider sagen muss, in eine schwere Zeit. Die Probleme in meinem Land machten es mir mitunter schwer, mich auf meine Arbeit zu konzentrieren und ließen des Öfteren Zweifel an der Sinnhaftigkeit dieses Unterfangens aufkommen. Dass ich die Arbeit schließlich doch zu Ende führen konnte, liegt daran, dass es Menschen gab, die mir außerordentlich viel Unterstützung, Hilfe und Zuspruch zuteil werden ließen. Ihnen möchte ich an dieser Stelle meinen herzlichen Dank aussprechen. An erster Stelle seien meine Betreuerin Univ. Prof. Dr. Maria A. Stassinopoulou und meine Begutachterin Ao. Prof. Dr. Claudia Römer genannt. Prof. Stassinopoulou, die mir mit viel Geduld und Verständnis zur Seite stand, danke ich für ihre wertvollen Kommentare und Gedanken und ihr Interesse an dem Thema meiner Arbeit. Bei Prof. Römer bedanke ich mich dafür, dass sie mich den gesamten Entstehungsprozess hindurch sowohl persönlich als auch wissenschaftlich, durch ihre Ermutigung und ihre Hilfsbereitschaft, immer unterstützt hat. Ohne die wirklich vielseitige Unterstützung und Solidarität meiner lieben FreundInnen Sertan Batur und Emine Danacı hätte ich diese Arbeit überhaupt nicht beenden können. Sie halfen mir bei der Bewältigung der verschiedenen Probleme, die auch mit einem Leben im Ausland verbunden sind, und sorgten so dafür, dass ich mich immer wohlfühlte. Mein Dank gebührt weiters der Lektorin Roswitha Fraller für ihren Beitrag zur sprachlichen Aufbereitung meiner Arbeit und auch für ihre Geduld, ihr Interesse und ihre Solidaritätsbekundungen in diesen für mich schweren Zeiten. 1 M. Sabri Koz war so liebenswürdig, sein Wissen über Volksschauspiel, Volksmärchen und Erzählungen mit mir zu teilen. Stets offen, meine Fragen zu beantworten und mit mir zu diskutieren, hat er mir diese Kunstformen auf eine spannende Art und Weise nähergebracht. Dafür empfinde ich tiefe Dankbarkeit. Eirini Afentoulidou und Doretta Papadopoulou hatten immer Zeit für mich, insbesondere wenn es um sprachliche Aspekte des Themas ging, Athanasios Marvakis leistete mir wichtige Hilfe bei der Beschaffung der Literatur, an die ich nicht selbst herankommen konnte. Als verlässlicher Ansprechpartner in Fragen zur griechischen Geschichte, der jederzeit bereit war, mit mir zu diskutieren, erwies sich Dimitrios Kousouris. Auch ihm habe ich viel zu verdanken. Zum engsten Kreis der Menschen, die mich unterstützt haben, zählen meine besten Freunde Harun Turgan und Ahmet Akşit, die gleichzeitig meine Karagöz-Partner sind. In den vielen Stunden, die wir mit Lesen, Proben, Singen und gemeinsamen Aufführungen von Karagözstücken zubrachten, habe ich eine tiefe Vertrautheit mit dem Thema entwickeln können. Harun ist ja in gewisser Weise in allen meinen Arbeiten präsent – mit ihm habe ich nicht nur unzählige konstruktive Gespräche geführt, er ermöglicht mir durch die Übernahme ‚weltlicher‘ Angelegenheiten, dass ich in Ruhe arbeiten kann. Auch mit Ahmet habe ich zum Thema meiner Dissertation auf verschiedene Weise intensiv zusammengearbeitet. In dieser Periode war er immer für mich da. Ich bin dafür so dankbar. Meine Mutter lacht still in sich hinein, wenn sie daran denkt, dass der arme Karagöz zum Dissertationsthema geworden ist. Mein Studium in Wien war nur um den Preis möglich, dass ich sie so lang allein ließ; sie hat uns alle – Peri, Harun, Ahmet – immer unterstützt. Ich widme diese Arbeit allen WissenschaftlerInnen – darunter meine Schwester Huri Özdoğan –, die nicht mehr arbeiten dürfen und großem politischem Druck ausgesetzt sind, weil sie für Menschenrechte und Gerechtigkeit eintreten. 2 Inhaltsverzeichnis DANKSAGUNG ..................................................................................................................................... 1 I. EINLEITUNG ..................................................................................................................................... 5 1.1. Struktur der Arbeit ..................................................................................................................... 15 1.2. Die Quellen ................................................................................................................................ 17 II. SCHATTENTHATER IN GRIECHENLAND ................................................................................ 19 2.1. Die Grundeigenschaften des Karagiozis .................................................................................... 19 2.2. Die Ursprungslegenden über den Karagiozis ............................................................................. 33 2.3. Die Stilschulen des Karagiozis ................................................................................................... 45 2.4. Karagiozis in Athen .................................................................................................................... 52 2.4.1. Heroische Spielart ............................................................................................................... 64 2.5. Die Obszönität ............................................................................................................................ 70 III. DIE ERINNERUNGEN DES SOTİRİS SPATHARİS ................................................................... 76 3.1. Ein kurzer biographischer Überblick ......................................................................................... 76 3.2. Das Buch .................................................................................................................................... 78 3.3. Der Karagiozisspieler Sotiris Spatharis ...................................................................................... 83 3.3.1. Analphabetismus der Spieler/Mündlichkeit und Schriftlichkeit ......................................... 86 3.3.2. Auftritte in der Provinz ....................................................................................................... 88 3.3.3. Die Karagiozisspieler und die Unterwelt ............................................................................ 93 3.3.4. Die Meister und die Helfer .................................................................................................. 98 3.3.5. Die Karagiozisspieler und die Konkurrenz ....................................................................... 101 3.3.6. Die Spielorte und die Kaffeehausbesitzer ......................................................................... 103 3.3.7. Die Karagiozisspiele des Sotiris Spatharis ........................................................................ 105 3.3.8. Die Intellektuellen und der Karagiozis/die Spieler ........................................................... 138 3 IV. HAYRETTİN ALTIOK UND SOTIRIS SPATHARIS ................................................................ 164 4.1. Ismayıl Hakkı Baltacıoğlu ........................................................................................................ 165 4.2. Halkevleri ................................................................................................................................. 167 4.3. Yeni Adam ................................................................................................................................. 168 4.4. Der Brief des Hayrettin Altıok ................................................................................................. 170 V. NACHWORT ................................................................................................................................. 185 VI. LITERATUR ................................................................................................................................. 195 ANHANG 1: Die Route des Karagiozisspielers Sotiris Spatharis durch die Provinz ......................... 211 ANHANG 2: Die Spiele von Sotiris Spatharis .................................................................................... 212 Zusammenfassung ............................................................................................................................... 218 4 I. EINLEITUNG Während der Karagöz ab ca. 1900 im Osmanischen Reich seine Popularität nach und nach verlor,1 erlebte der Karagiozis einen Aufschwung, indem es ihm gelang, nach und nach zu den verschiedenen Schichten und Orten Griechenlands vorzudringen. Warum dies so war, war meine anfängliche Frage. Um diese Frage zu beantworten, sollte man, so denke ich, zunächst den Karagiozis und die griechische Gesellschaft betrachten. Auf diesem Weg, den ich bereits zuvor in mehreren Arbeiten über das Schattentheater gegangen bin, habe ich allmählich Ähnlichkeiten und Unterschiede zwischen den beiden Schattenspielen
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