Asian Research Journal of Arts & Social Sciences 2(1): 1-8, 2017; Article no.ARJASS.30515

SCIENCEDOMAIN international www.sciencedomain.org

The Attempt of the Official Ideology to Secularize Theatre in Turkey together with the Foundation of the Republic

Banu Ayten Akin 1*

1Mugla Sitki Kocman University, Bodrum, Turkey.

Author’s contribution

The sole author designed, analyzed and interpreted and prepared the manuscript.

Article Information

DOI: 10.9734/ARJASS/2017/30515 Editor(s): (1) Shiro Horiuchi, Associate Professor, COC Promotion Office, Yamagata University, Japan. Reviewers: (1) Quratulain Shirazi, International Islamic University, Malaysia. (2) Chaibou Elhadji Oumarou, Université Abdou Moumouni de Niamey, Niger. Complete Peer review History: http://www.sciencedomain.org/review-history/17457

Received 14 th November 2016 Accepted 27 th December 2016 Short Research Article th Published 7 January 2017

ABSTRACT

The Westernization programme was officially initiated and implemented in Turkey together with the foundation of the Turkish Republic. The first attempts to secularize performances had already started in the Tanzimat Reform Era (the political reforms made in the Ottoman State in 1839). In this period, our traditional plays Meddah (public storyteller), Karagoz (shadow play), Orta Oyunu (Theatre-in-the-round) were kept in the background. The adaptation of these exhibitive forms, which audience loved a lot during the Ottoman Empire, into Western Theatre that is based on illusion, created a serious problem. Karagoz shadow play characters, which were structured around Ottoman’s polyphonic structure, could not survive changes made in their composition. The characters of Orta Oyunu, who were in connection with audience having no offer from them, were defeated in frame stage. This deconstruction in traditional forms will cause our theatre, which turned its face to Western theatre, to be unable to use its own resources. Although secularization of performances is a true effort that walks with the effort to secularize society, it brought the problem of saving the traditional forms together with it. This study, periodically traces this in Turkish theater.

Keywords: Turkey; theatre; republic; secularism; Karagoz.

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*Corresponding author: Email: [email protected];

Akin; ARJASS, 2(1): 1-8, 2017; Article no.ARJASS.30515

1. INTRODUCTION source of development and a power point. Hereafter, as the contractor of bigotry, the public Turkish Theatre, which managed to improve doesn’t want some of the values it owns to come during the founding of the Republic after 1923, is into the new state. Anatolian folk culture is a product of secular reforms. The birth of a loaded with Islam’s mystic comments as well as Turkish Theatre in accordance with Western line superstitions and vanities and it will be can not be made possible unless secularisation dangerous for a new regime it will involve in a of society is completed. In paralel with efforts to short time. seperate religion from society, theatre also becomes free by going out of religion’s The Hat Revolution that is based on taking off dominance. However, this transformation doesn’t the fez, is an intervention to signs that follow the same path that happened in the West differentiate muslim and non-muslim and also to as in the examples of Ancient Greek and English Islamic way of life. The daily newspaper Drama. Additionally, it doesn’t resemble the Cumhuriyet responds to these reactions by resistance that Kabuki and No Theatre in the saying on September 1, 1925 that ‘just like it East displayed against the West. It is a doesn’t make sense to show the world inner side disengagement from a sustainable chain. It of our head in order to prove we have changed doesn’t want to include the old into the new one our mind, it is equally easy to show the outer regardless of what they are; religious or side’ [3]. The West will accept the East in the traditional, urban or rural. Just as the collapse of amount the East resembles it. However, a kind of Eastern Despotism was realized through Westernization not having an Englightment modernization and secular reforms and just as Period and Industrial Revolution behind it, will substitution of public values and traditions with prepare ground for old institutions and people to the West began; theatre also advocates West reappear. In 1926, the last castle of sharia against East, to which it turned its back. (Islamic law) is abondened and replaced by Civil Secularization is a pushing power in order that Law. This sharp turning against the sharia that performance can get out of religion and turn into ignores woman freedom and equality with its theatre. Western Theater is settled instead of elements such as polygamy, divorce and private mimetic and dramatic tradition together with an life, is the absolute victory for intellectuals who understanding of art policy, which puts European see the Westernization through woman’s position Orchestra in place of Mehteran (janissary band in at most. The transition of woman from private the Ottoman State), Western literature and position to social position secretly pushes male- poetry in place of Ottoman Poetry and, dominated mentality and Islamic views that have perspective in place of miniature art. some dogmatic rules and, that force covering the body, to be organized. It is the Republic and its revolutions that transformed the West’s modernization projection 2. SECULARIZATION OF PERFORMANCE into a secular nation-state creation by making TOGETHER WITH THE REPUBLIC Westernization and nationalism compromise. These revolutions put religious policies that they implement in frame of ‘secularism’ in the core of ‘Religion’ and ‘folk traditions’ have always been modernization idea. Meeting of two opposing determinative powers in Turkish Theatre. The concepts that are not possible to come together forms that are based on exhibitive understanding with Islam such as secular nationalism, involves such as Meddah (public storyteller), Karagoz and the risk of creating an East that is similar to the Orta Oyunu, are tottally different from the West’s West [1]. This new state has started to be theatre that is based on illusion. These forms will grounded after Tanzimat Reform Era mentality, face the danger of extinction in time as they are which takes Europe’s French language and the thought to have Arabic, Iranian and Egyptian elits, who can play the piano as role models and roots. It has been seen that traditional forms therefore creating a generation that speaks have not largely been given place in the French and plays the piano and later becoming Tanzimat Reform Era mentality. Namık Kemal contended with only one part of the whole. The completely rejects traditions like Orta Oyunu and biggest danger the East, which tries to resemble Karagoz. Even Gullu Agop, who defends not to the West, might come across is its being not able prohibit Karagoz and Meddah, is in favor of to resemble the West enough [2]. bettering these forms. On condition that these plays are bettered, they will form the basis of the The value difference between the official Ottoman Theater. However, when it comes to the ideology and public depicts the public as the Republic Era, these forms, whose names are not

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even found in Western theatre, will be mentioned after they lost their functions. These forms, so as to spread the revolutions [4]. hereby serving ideologically under the control of the state and stepping outside of belonging to Orta Oyunu went through some reforms in the the public, lost their attraction. Other than that; Tanzimat Reform Era. The first change was its underestimating what belongs to public, taking place on a framed stage instead of in an punishment and prohibition foster the death of open area determined by a rope. Orta Oyunu popular and oral culture. The Interior Ministry actors, by this way, were able to succeed in sent a circular letter to publishing houses and maintaining their jobs until a certain point. Orta writers related to what kind of an engineering Oyunu, which succesfully and humorously tells popular culture would be subject to: about the creation of various nations within the Ottoman Empire and their characters, the way It is desired ‘ to use the characters, whom the they speak, their clothes, their life at home, public knows well, in new cases and garden, bath, cafe and meyhane (literally wine therefore making heroes, whom the public house), their social life, their way of earning their are familiar with, live in adventures, which lives, their rakishness and womanizing, becomes advise in accordance with new Turkish Westernized by experiencing its first significant revolutions and modernization goals ’ [7]. transformation in Tanzimat Reform Era. Firstly; Kavuklu, one of the two main characters in Orta After this circular letter; changing their identities, Oyunu, takes off his quilted turban on his head, folk heroes are obliged to defend some ideas his loose robe on him, his waistcloth and his pointed at them. Adapting traditional forms like salwar. He becomes a comics mode that is semi- Karagoz and Orta Oyunu into today’s world is Western and semi-Eastern with his new looking included in this policy. involving fez, tight trousers and shoes. Karagoz being a rough villager in Ottoman, is a ‘This case, this clothing was not even the good and well mannered Turkish villager as seen imitation of the imitation. It was an out of in Iyilik Eden Iyilik Bulur (Do Good Things and season, disfigured, a different kind and a Good Things will Happen to You). Because what patchworked example of Western clothing suits human being is to favor. It is obligatory to styles and it was a foreign caricature read and write in Deli Dumrul (Mad Dumrul) but it showing us with turban covered on the hat is also necessary to cultivate the soil and earn after the revolutions [5]’. life from soil without being an parasitic clerk like Hacivat. Folk poets should be respected as it The West, within Westernization culture policies, happens in Dagdeviren (Blockbuster). Praising remains in a position that excludes the West that and respecting villagers as a Turkish villager, stays behind civilization. Since the 19th century, Karagoz undertook even some administrative Karagoz has lost its importance stemming from functions in Karagoz’un Koy Muhtarligi its shadow-show screens’ being Egyptian. (Karagoz’s Being a Village Headman). Karagoz Looking for a place for itself in this century just looks at the cultural hierarchy, which is unique to like Orta Oyunu, Karagoz loses its traditionality the Ottoman and that he turns upside down and and its unique rules. The renewal trials of inside out in a grotesque style, with a feeling of Karagoz, which thoroughly lost favor, goes on having noticed his self. Abolition of madrasah with few people’s attempts to become organized. brings the uppityness of Karagoz to Hacivat, to Karagoz is said to have died after Hayali Kucuk whom he says ‘you hookey (who escapes from Ali’s death (one of the first leading puppet and madrasah), you blind follower’. The change of shadow play artists). The membership to the character is staggering. International Puppet and Shadow Play Union (UNIMA) belongs to the year 1980 [6]. In 1928, the provision of the constitution stating ‘The official religion of the Turkish state is Islam’ Such forms of communication and entertainment is taken out of the Constitution. Ottoman has instruments, which lose their chance of renewal become the most important representative of the as modernization is complained about and powerful relation between religion and writing. In therefore becoming unable to follow the street this sense, Turkish is a disengagement from the life’s change, become different and vanish. language and culture of Islam. Causing some disturbance in the periods, during which they took attention and they were popular, The transformation of shadow-show screen that these forms went under the control of the state involves sufi characteristics into reality of new

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Turkish nation and transformation of Karagoz, villages and fortune telling, witching, beliefs who grew up in dervish lodges, into a folk centered around hodjas (in religious context) intellectual wipe out these forms choking at the would revive the relation of exploiter-exploited. end of service of traditional forms to popular When compared with their rate of expansion comedy. The efforts of modernization of the time everywhere in the first years of the Republic, can not prevent Karagoz’s losing favor and these beliefs mostly revive in villages’ borders. It becoming one of the forgotten forms like Orta is witnessed in the plays, which deal with the Oyunu. Restoration of Karagoz, who lives on reality of village, that sharia laws are Ottoman’s polyphonic and religious structure, implemented within conventions and traditions. with contradictious interpretations to its own self, Interpretations against art can easily be seen in results in a failure stemming from its serving for Islam Mecmuasi (Islam Journal), which is the ideology. According to Ahmet Rasim, if there recommended by the Ministry of Education itself had been a Moliere, who could succeed in to Islamic divinity schools in 1987. It is forbidden praising topics and forms of Karagoz and Orta by the religion to record and watch a singing Oyunu, there would have been a ‘Comedy woman, who might turn on lookers, but if the Turkish’ like ‘Comedie Francaise’ [8]. But we musical instrument is a pipe or a tambourine with haven’t had a Moliere. jingles, which are accepted by Islam, there is no problem with that. An actor’s acting someone Western Theatre, instead of traditional forms, is else’s role and saying words that cause him to be placed in Turkish Theatre together with framed excommunicated, cause the actors acting them stage mentality. It is a period, in which Western’s to be excommunicated, too [9]. The Ottoman leading movements that aim to go back to rituals mentality is slowly coming back. are carrying out experimental work in cooperation with the East. However, the fact of In the first years of the Republic, the Kemalist ‘audience’s involvement into the play’, which it ideology consciously aims to spread literature, has upon the need of the East’s becoming especially theatre performances, and to change Western, is rejected in this new Turkey. old, worn mentality. Reactionism and exploiting the public’s beliefs are social issues that post- The most important theatre company of the time revolution writers deal with. This issue is dealt is the City Theatre having being called with in various periods from different Darulbdedayi-i Osmani before. Preparing many perspectives. The situations of pre-revolution writers and actors/actresses for the Republican blimpishness, marriage and conventions related theater, this school has a wholly Western to woman, hodjas, muslim judges and sheiks are understanding about theater restoration. Its first criticized in the theatre texts written after the contribution to Turkish Theater in the context of Republic and especially the revolutions. Westernization is to make Turkish Muslim Reactionism (opposing social or political change woman appear on stage. Daruldbedayi-i Osmani by extreme conservatism) is at the top of the performs its first independent plays with the situations put forward as an example to encouragement of Mustafa Kemal by saying ‘ it Ottoman’s corrupt system [10]. Secularism is the will be very enjoyable to listen to them with their common trait of Western revolutions and these good accents when they are on stage’. This is a revolutions find places for themselves in theatre victory . Secularizaiton of art and the actors’ and literature to be implemented like a public getting the freedom of performing without being institution together with the Republic. As the dependant on sharia rules is not something easy determiner of the cultural politics, Westernization to get used to. After some first reactionist attacks is in the position, in which it is both the one that in Izmir Sporting Club in Istanbul, Izmir and creates Turkish Theatre and the one that trades Ankara, performances with both men and women on it. Revolution Performances play a significant together started under the root of Ferah Theater role in transferring the official ideology to public. in the Republic Era. The Ministry of Interior makes use of Improvisational Theatre companies that travels Not a long time later, abolition of sitting around Anatolia and also local Karagoz shows. separately for men and women is seen in The enemy fought against is ‘bigotry and abuse Anatolia’s towns let alone big cities. However, of religion’, which find Westernization improper these implementations would come into for their advantages. Therefore, theatre existence again due to economic problems and cooperates with the state against them. The the support of political formations after 1960s. plays written until 1940 such as Resat Nuri Superstitutions would start spreading into Guntekin’s Hulleci (A second man to marry the

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wife of someone, who uses up his three times Resat Nuri Guntekin shows that a district imam right of divorcing his wife, in order to make her a takes corruption as a tool with bribery in his play lawful spouse again according to the Islamic Hulleci (1935) (A second man to marry the wife law), Kadın Erkeklesince (When Woman of someone, who uses up his three times right of Becomes Mannish); Vedat Nedim Tor’s Gorucu divorcing his wife, in order to make her a lawful (The Women Sent to See a Marriagable Girl); spouse again according to the Islamic law). The M.Kemal Kucuk’s Ic Acısı (Sorrow); Huseyın play is a critique of a religious man’s Suat Yalcın’s Ahrette Bır Gun (A day in the deceptiveness which he uses for his own Afterlife); Yakup Kadri Karaosmanoglu’s advantages and of corrupt institutions. Men and Saganak (Downpour); Musahipzade Celal’s Itaat women can watch a performance together, walk Ilamı (Notification of Obedience), Ferman Deli around alone and participate in same invitations Hazretleri (Prerogative writ of Mr. Mad), Aynaroz with men after the Republic. Muslim sharia and Kadısı (The Cadi of Aynaroz), Kafes Arkasında its traditions received a blow on its dominant (Behind the Cage), Mum Sondu (The Candle areas such as polygamy, divorce and woman’s Went Out), Balaban Aga (Balaban, the Landlord), freedom with the Civil Law in 1926 and with Genc Osman (Young Osman); E. Sevket Piskin’s family and woman going under the effect of Seriatci (The Sharia Follower) are thesis plays. secular system. Resat Nuri Guntekin tells how a The Republic ideologically needs intruments. woman turns a situation that works against her Secularism became the product of these within the frame of sharia laws traditional family revolutions that consciously wanted to bring leans on, into her advantage in Hulleci. Hulle these activities under control. There is no doubt offers moments, in which any deceptiveness is that the most effective writer of the time is possible. ‘Modernization’ shows itself in driving Musahipzade Celal. This writer is authentic power of the Civil Law in Muslim countries [13]. because he reflects Karagoz and Orta Oyunu’s tradition and who employs Western thought in his Musahipzade Celal questions the tricks of plays. It is like he declared war against abuse of mentality that left woman behind doors for religion through his reactionist characters he centuries, in the play Kafes Arkasında. Woman, considered as social characters (flat characters) transferred from an isolated life to social life with and against folk beliefs full of false the Republic, is thrown to a life that is directly interpretations, evil, superstition. The plays, in connected to West with laws from a life that she which sharia laws and Islamic traditions are has no tie with the world. This is an amazing examined in terms of exploited and exploiter, are transition. Osman Cemal Kaygısız’s Ufurukcu indicators showing the dangerous forms reached (The Exorcist) depicts how opportunist people by unofficial Islam in Ottoman and how the public exploit public and rape women under their is left behind in them. magician, exorcist, fortune teller positions. Ertugrul Sevket’s Seriatci (1938) those who The writer tries to see the ulema of the time from represent religious institutions, consist of different perspectives in Balaban Aga that starts deceitful people exploiting honorable women and with a hymn. There is funniness among the also young people who make love. Public can reasons that pushes the writer to write Mum not notice scam going around it and even if it Sondu, in which he draws attention to how a does, the police and the administration are also ritual specific to the Shias was transformed into a among those who benefit from this exploitation sexual tool. Mum Sondu is the funny narration [14]. which is divided into formal and nonformal beliefs, has been subjected to in front of public Religious exploitation tools and figures like leaders coming to power just like a sultan, khalif hodjas and exorcists, who are dealt with in the or prophet. The relation of the character Nihani context of village reality after 1950s and 1960s, with Moliere’s Tartuffe lies in fake religious men’s are depicted in Cahit Atay’s Ermis Mehmet (The going all the way under their identity [11]. The Holy Mehmet), which deals with someone writer depicts ‘a Muslim judge’s keenness for considering himself a holy person, who kills his money, property and passion based on sexual friend; in Sermet Cagan’s Ayak Bacak Fabrikasi assault together with a Christian priest in his (The Factory of Foot and Leg) which takes place most important play named Ayanaroz Kadısı. in a village full of holy fish; Talip Apaydın’s Bir Musahipzade Celal states he wrote this play to Yol (A Road), which deals with sheiks, who leave ‘show bigotry that uses religion and sharia for its public in darkness. Since these public beliefs are greedy desires, with its trial to conform its aims to not totally given up, they are maintained to be religion, humbug and doubleness ’. [12]. written about. The cultural policies of

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Westernization decrease the figures’ level of it depicts his death as different from the one of success in changing these values. Public the prophet. He vanishes into opening and undermines this transition process again, which it bending clouds in the sky. Even though there is doesn’t go through naturally, due to financial no literary value of these plays written for crisis, desire for equality, the weariness of having spreading the revolutions, it is evident that it been exploited in democracy process that started reached the crowds. Two common with multi-party system period. Public transforms characteristics in these plays, which project the act of Kemalist ideology’s having two defined replacing belief to new Republic with religious components to the potential of left (wing)-right beliefs, and individual effort with a fatalistic (wing) and reactionary-progressive. Revolution understanding, are their being ‘secular’ and plays undertake a big task to reach the public ‘nationalist’. Yunus Nuzhet Gercek’s play Hedef and spread the revolutions. (1934) (The Aim) involves elements putting public’s power in place of God’s power. Religion Aka Gunduz’s Beyaz Kahraman (1932) is is examined in Vehbi Cem Askun’s play Ataturk important because of an epistemological Koyunde Ucak Gunu (The Day of Aeroplane in disengagement from Ottoman. The positivist Ataturk’s Village). Aldermen are told not to make epistemology the play is based on and the mystic concessions to villagers due to their beliefs. In epistemology Ottoman writers depend on the new regime, mosque replaces with school. antipodes. In Ottoman’s thinking, which is obtained from the Quran and the Prophet The Islamic section’s displeasure increases Muhammad’s sayings, nothing else is taken into again with multi-party period. Decretals, consideration. However, positivist science is traditional values, which are argued between highlighted in Beyaz Kahraman (The White radical and modern Islamists, try to draw an Hero). The process around onethousand years untouchable circle for themselves including the after the acceptance of Islam is disregarded [15]. public in it. In this sense, any institution The play character of Yasar Nabi Nayır’s Inkılap representing innovation can not be endured. Cocuklari (The Children of the Revolution) he Therefore, theatre has been an area that wrote in 1933, Gunduz’s matchings of God / reactionists attacked since the first years of Ataturk, The Quran / The Nutuk (Speech) by Western restorations. Oktay Rıfat’s play Kadınlar Ataturk, Kaaba / Chankaya Palace, Islam / Arasinda (Among the Cadis), which was Positivism are attention-grabbing: performed in the State Theatre in 1948, is removed due to attaching importance to some Revolution Performances strive for purifying bigoted, intolerant spectators’ voice. Similarly; certain terms that Islam brought to Turks’ lives. It Kemal Gürmen and Cahide Sonku acting in aims to draw lines forming the new citizen in Dusman (The Enemy) of Dram Theatre in 1948 frame of Turkishness and being Western and get a big reaction due to their love scene: ‘ This also to replace positivist approaches with some place turned to a penthouse, not theatre ’. values located in public’s belief. Trial of secularizing the concept fate (predestination) in These reactions incessantly continue. However, the play Coban (The Shepherd) is noteworthy. the year 1960 brings freedom atmosphere with it. Fate turns to be the human will itself. For this reason, reactionists voice against theatre reaches great levels. For example, there are Faruk Nafız Camlibel compares Mustafa Kemal those who emerge for religion and sharia desires with the Prophet Noah, Jesus and Mose and puts in Sezuan’ın Iyi Insani (The Good Person of forward in his play Kahraman (The Hero) that Szechwan) in Istanbul City Theatre in 1964, Mustafa Kemal is superior to them. This those who get angry with the scene that depicts coincides with people’s world perception in a hodja writing amulet (a kind of pray) on a 1930’s Turkey. This is the reason why the leader woman’s stomach in Esegi Saldim Cayıra (I sent (Ataturk) is presented with religious terms within the Donkey to the Meadow) in Antalya, who ‘modernization – secularization – revolutionism’ protest against the play adapted from programme, which relies on rationality [16]. The Aristophanes’ Lysistrata Kadinlar I-Ih Derse (If play among the revolution plays, Bayonder (Mr. Women Say Nope) in Golcuk, the Alevis Leader), which Ataturk ordered Munir Hayri Egeli protesting Mum Sondu in 1966, the bigots ones to write, is an interesting one due Ataturk’s besieging the play adapted from Tartuffe Yobaz interference with the much of the text. Although (The Bigot), all of them strengthen their anti- Bayonder’s death happens via mi’raj, which secular speech gradually. Religion is still against makes it similar to that of Jesus and Muhammad, art and theatre that are out of it. Istanbul High

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Islamic Institute resort to violence in order to stop festival. Meddah, Karagoz and Orta Oyunu that the perforance by entering the hall while Ankara is the version of Karagoz’s appearing on stage, State Theatre actors and actresses are are exhibitively characterized performances performing Hulleci in Konya. This arrant shaped by the pressure of Islam. Meddah’s sensitiveness to religious matters end up with transition to being an actor from being narrator- stoppage of plays that are critical of religion. actor in the East’s mysticism became possible to However, the attempt to see art under Islamic a certian extent among Orta Oyunu’s characters. values doesn’t end. The regime’s being a religious one and the government’s carrying out religious and 3. CONCLUSION governmental affairs together created a barrier for performance to get rid of religious forms and Westernization triggers the loss of traditional pressures. Understanding of creating an forms due to their not being dealt with for a long outstanding Turkish culture through West’s time. Turkish Theatre follows a Western path cultural transfer is dominant in the Republic Era. while becoming secular with its stage, spectator, Art also holds an important place in the process social structure by gaining independence from of gaining national identity. Secularization offers religious rituals. As Westernization did not went an independent, productive, supportive structure through a natural process because it came after away from religious pressure on condition that a disangegament, its potential for giving birth to tradition is correctly formulated [17]. The opponents becomes apparent. Traditional forms Republic symbolizes disengagement from were left to the preservation of a certain group traditions collected under the root of Ottoman. It apart from its aim to spread revolutions and they is not only a disengagement from Ottoman but came face to face with the risk of extinction after also from Anatolia that penetrated in traditions, these groups’ death. The mentality starting with beliefs and, that seems difficult to separate. The an actress’s appearing on stage and, disobeying cultural policy aiming to turn to West by sharia laws became the biggest revolution in this separating from Islamic Civilization also process, in which woman’s position was the most separates from Greek, where the origins of important determiner. Although plays about Western culture are rooted. While presenting the religious matters are met with patience especially official ideology as if it were a religion for society in the first years of the Republic; their naturally and artistic production, Kemalism synchronously causing reactions together with the Republic, hinders thinking to some extent. This time theatre transformation of public beliefs, religions’ being enters the service of the official ideology, affected by economic crisis and its start to Kemalism, just like artistic productions such as express itself with socialism on political platform calligraphy, illuminated manuscript etc. once are inevitable. In this framework, Westernization, were in Islam’s employ despite all secular in spite of all progressive views, had to follow a configurations. Revolution Performances are the tendency like cutting the vessels Turkish Theatre most indicators of this. Even though Turkish would live on. Theatre, which is expected to create its own identity by producing idea, comes out victorious The failure to found Turkish Theatre until the from its fight with religion by putting what is 19th century despite its powerful dramatic dramatic on stage, it just counts steps in efforts reflections can be associated with society’s being to solve the problems in transferring itself to unable to secularize. Nomads of Middle East are West and, in self-expression. unable to initiate a theatre despite their supernatural Shamanistic rites and meddahs COMPETING INTERESTS (public storytellers). They have to confine themselves to religious performances as they Author has declared that no competing interests went under the affection of Islam despite exist. ByzanstineTheater and village plays here when they moved to Anatolia. While shaman is turned REFERENCES into a meddah, it is seen that meddah can not realize a transition from being actor that has to 1. Said E. arkiyatçılık/Orientalism, Çeviri/ come to the middle on stage and that he remains Translation: Berna Ülner, Metis Press, in the level of story telling. It is only Shias, who İstanbul. 1999;275. are able to produce condolence plays from Islam, 2. Yavuz H. Modernle me: Parça mı, bütün in which Christian influence is seen. Ottoman’s mü? Batılıla ma: Simge mi, kavram mı? / feasts, weddings prove that there is a tradition of Modernization: Parts, all? Westernization:

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