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T.C. EGE ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü T.C. EGE ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü TÜRK OPERA SANATINDA MİTOLOJİNİN YERİ – NEVİT KODALLI’NIN “GİLGAMEŞ OPERASI”NIN, “GILGAMIŞ DESTANI” İLE KARŞILAŞTIRILMASI VE İNCELENMESİ Bernis DANIŞMAN TEMEL BİLİMLER ANABİLİM DALI TÜRK MÜZİĞİ PROGRAMI İZMİR 2020 T.C. EGE ÜNİVERSİTESİ Sosyal Bilimler Enstitüsü TÜRK OPERA SANATINDA MİTOLOJİNİN YERİ – NEVİT KODALLI’NIN “GİLGAMEŞ OPERASI”NIN, “GILGAMIŞ DESTANI” İLE KARŞILAŞTIRILMASI VE İNCELENMESİ Yüksek Lisans Tezi Bernis DANIŞMAN Tez Danışmanı: Doç. Dr. Esin de THORPE MILLARD TEMEL BİLİMLER ANABİLİM DALI TÜRK MÜZİĞİ PROGRAMI ii ETİK KURALLARA UYGUNLUK BEYANI Ege Üniversitesi Sosyal Bilimler Enstitüsü Müdürlüğü’ne sunduğum “Türk Opera Sanatında Mitolojinin Yeri – Nevit Kodallı’nın “Gilgameş Operası”nın, “Gılgamış Destanı” İle Karşılaştırılması ve İncelenmesi” adlı yüksek lisans tezinin tarafımdan bilimsel, ahlak ve normlara uygun bir şekilde hazırlandığını, tezimde yararlandığım kaynakları bibliyografyada ve dipnotlarda gösterdiğimi onurumla doğrularım. Bernis Danışman iii iv TEŞEKKÜR Bu çalışmanın gerçekleştirilmesinde, değerli bilgi ve birikimini benimle paylaşan, benden hiçbir yardımı esirgemeyen danışmanım sayın Doç. Dr. Esin de Thorpe Millard’a saygı ve minnetlerimi, müzikal inceleme konusunda engin müzik bilgisini benimle paylaşan ve yardımlarını esirgemeyen sayın Türker Barmanbek’e teşekkürlerimi sunarım. Bu zorlu süreçte bana destek olan annem sayın Seher Danışman’a sevgilerimi sunarım. Çalışmam sırasında, tezimi okumasını dört gözle beklediğim babamın vefatı, çalışmamı babama ithaf etmeme vesile olmuştur. Çok sevgili ve sayın babam Soner Danışman’a, hayatıma dokunduğu için, benimle her zaman gurur duyduğu için sonsuz sevgi ve şükran içinde teşekkürlerimi sunarım. Bernis Danışman v ÖNSÖZ Tez konumu belirleme aşamasında, lisans bölümüm ve yüksek lisans bölümümün birbiriyle ilgili olması amacıyla, opera ve Türk müziğini birleştirmeyi amaçlamış bulunmaktayım. Mitolojiye olan ilgimden dolayı, üçünü birden ele almak istediğimi belirtmek isterim. Opera sanatındaki mitolojik öğeleri incelerken, Türk operasındaki mitolojik karakterlerle karşılaştım. Bunun üzerine, Türk opera sanatındaki mitolojik öğeleri incelemeye karar verdim. Detaylı olarak incelediğim Gilgameş operasında ise, birçok konuda medeniyetin başlangıcı sayılan Sümer devletini ve Sümer mitolojisini inceleme fırsatı yakaladım. Tezimde mitolojiyi ve opera tarihini kısaca aktardıktan sonra, Gılgamış Destanı’nı daha iyi kavramak amacıyla, Sümer devletini ve Sümer mitolojisini detaylı bir şekilde inceledim. Ardından Nevit Kodallı’nın Gilgameş operasını, opera ile destan arasındaki farkları, benzerlikleri ve farkların oluşturduğu sonuçları inceledim. Opera tarihi ile mitolojinin birbiriyle çok yakın ilişkide olduğunu fark ettiğim tezimin, opera alanında mitolojik incelemeler yapmak isteyen herkese faydalı olmasını dilerim. vi ÖZET Mitoloji, tarih boyunca her alanda olduğu gibi, sanat alanında da karşımıza çıkmaktadır. Opera tarihinin başından itibaren, birçok operanın konusu mitolojik ögeler içermektedir. Daha çok Yunan mitoloji ile karşımıza çıkan opera eserlerinin, ilerleyen dönemlerde, opera sanatının farklı coğrafyalara yayılmasıyla birlikte, konu yelpazesi de genişlemiştir. Ahmet Adnan Saygun’un bestelediği ilk Türk operası Özsoy, Türk ve İran mitolojinin ortak konusunu ele almaktadır. İkinci kuşak Türk bestecilerinden Nevit Kodallı, Gilgameş operası ile, Sümer mitolojini ele almış, ayrıca günümüze kadar uzanan etkileyici bir hikâyeyi de izleyiciyle buluşturmuştur. Sümerler, tarihte önemli bir yeri olan millettir. Günümüzde kullandığımız birçok şeyin kökeni Sümerlere dayanmaktadır. Çivi yazısı ile bugünkü yazının temellerini atan Sümerler, ayrıca hukuk, mimari, sanat, müzik, edebiyat, yönetim, bürokrasi, matematik, eczacılık vb. konularda önemli gelişmeler kaydetmişlerdir. Gılgamış Destanı, tarihin ilk yazılı destanı olarak kabul edilmektedir ve on iki tabletten oluşmaktadır. Bundan binlerce yıl önce Sümer’de yaşamış olan kahraman kralın hikâyelerini anlatan destan, kil tabletlere yazılmış ancak zaman içinde bozulmalardan kaynaklı bazı boşluklar oluşmuştur. Genel hatlarıyla Gılgamış Destanı, Uruk kentinde yaşayan acımasız kral Gılgamış’ın hikâyesini anlatmaktadır. Gılgamış’ın yakın dostu Enkidu’nun tanrılar tarafından cezalandırılarak öldürülmesi, bunun üzerine Gılgamış’ın ölümsüzlüğü aramak için çıktığı yolculuğa değinilmektedir. Gılgamış, ölümsüzlüğü arayan bir ölümlü olarak anılır ve günümüzde dahi, hala etkili bir biçimde karşımıza çıkmaktadır. Anahtar Kelimeler: Mitoloji, Opera, Sümer Mitolojisi, Gılgamış Destanı, Nevit Kodallı, Gilgameş Operası. vii ABSTRACT Mythology appears in the field of art as in every field throughout history. Since the beginning of the opera history, many operas have mythological elements. With the spread of opera art to different geographies in the coming periods, opera art, which is mostly encountered with Greek mythology, has expanded its subject range. Özsoy, the first Turkish opera composed by Ahmet Adnan Saygun, deals with the common subject of Turkish and Iranian mythology. Nevit Kodallı, one of the second generation Turkish composers, discussed the Sumerian mythology with the opera Gilgameş, and also brought together an impressive story dating back to the present day. Sumerians are the nation that has an important place in history. The origin of many things we use today is based on Sumerians. The Sumerians, which lay the foundations of today's writing with cuneiform writing, also include law, architecture, art, music, literature, administration, bureaucracy, mathematics, pharmacy, etc. They have made important progress on issues. The Epic of Gilgamesh is considered the first written epic in history and consists of twelve tablets. The epic, which tells the stories of the hero king who lived in Sumer thousands of years ago, has been written on clay tablets, but some gaps have occurred due to deterioration over time. In general, the Epic of Gilgamesh tells the story of the brutal king Gilgamesh, who lives in Uruk. The murder of the close friend of Gilgamesh, Enkidu, by punishment by the gods, upon which the journey of Gilgamesh to search for immortality is mentioned. Gilgamesh is referred to as a mortal seeking immortality, and even today, he still appears effectively. Key Words: Mythology, Opera, Sumerian Mythology, The Epic of Gilgamesh, Nevit Kodallı, The Opera of Gilgamesh. viii İÇİNDEKİLER TEŞEKKÜR .................................................................................................................... v ÖNSÖZ ............................................................................................................................ vi ÖZET .............................................................................................................................. vii ABSTRACT .................................................................................................................. viii ŞEKİLLER LİSTESİ ..................................................................................................... xi TABLOLAR LİSTESİ ................................................................................................. xiii GİRİŞ ............................................................................................................................... 1 BİRİNCİ BÖLÜM: MİTOLOJİNİN OPERA SANATINDAKİ YERİ ..................... 3 1.1.Operanın Tanımı ....................................................................................................... 3 1.1.1.Operanın Tarihsel Süreci .................................................................................. 5 1.1.2.Türkiye’de Opera Sanatının Tarihsel Süreci .................................................. 9 1.1.2.1.Atatürk ve Müzik ....................................................................................... 12 1.2.Mitolojinin Tanımı .................................................................................................. 14 1.3.Operanın Mitoloji ile İlişkisi .................................................................................. 18 1.3.1.Türk Operalarında Mitoloji ............................................................................ 19 İKİNCİ BÖLÜM: GILGAMIŞ DESTANI ................................................................. 23 2.1.Sümerler ............................................................................................................... 26 2.1.1.Çivi Yazısı ...................................................................................................... 28 2.2.Sümer Mitolojisi .................................................................................................. 30 2.2.1. Sümer Mitolojisinde Tanrılar ve Tanrıçalar............................................. 32 2.2.2. Sümerlerde ve Sümer Mitolojisinde Yer Adları ....................................... 33 2.2.3.Sümer Edebiyatı ............................................................................................ 34 2.3.Gılgamış Destanı .................................................................................................. 45 2.3.1. Destandaki Karakterler .............................................................................. 46 2.3.3.Gılgamış Destanı ........................................................................................... 47 ÜÇÜNCÜ BÖLÜM: GILGAMIŞ DESTANI’NI KONU ALAN TÜRK SAHNE ESERLERİ .................................................................................................................... 54 3.1.Tanrılar ve İnsanlar
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  • A New Function of the Scorpion-Man in the Ancient Near East
    Bible Lands e-Review 2016/S1 Girtablullû and Co: A New Function of the Scorpion-Man in the Ancient Near East Nadine Nys, University of Ghent and University of Leuven Abstract Although there are great differences concerning the appearance of the scorpion-man, many researchers don't really differentiate between them when it comes to meaning and function, and even seem to forget there is also a third type that always appears in basically the same, outspoken function. The most familiar and benevolent type is the so-called Girtablullû: the human-headed and human-bodied creature with scorpion tail. This creature will be referred to in this article as Type 3. The scorpion-bird- and scorpion-scorpion-man belong to Type 2: creatures with human-head and bird- or scorpion-body respectively. The oldest type (therefore referred to as Type 1) can resemble both the human-bodied (Type 3), and the scorpion/bird-bodied types (Type 2). Thus, while both Type 3 and Type 2 can be identified by their iconography (human body or animal body, i.e. bird and scorpion respectively), Type 1 however, must be identified through its pose which is always "supportive", i.e., standing with its arms upraised to literally or virtually give support to either symbolic motifs (as the Sun-disc), or real-life objects (e.g. a throne). Type 1 is thus always shown in the same position. The different poses and/or differences in appearance do have an impact on the meaning and function of the composite creature, and are therefore worth keeping in mind when trying to analyse the meaning of images in which the creatures appear.
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  • Scenes from the Epic of Gilgamesh Adapted From: Mccaughrean, Geraldine
    Scenes from the Epic of Gilgamesh Adapted from: McCaughrean, Geraldine. Gilgamesh the Hero. Adapted by Abe Karplus. Cast (in order of appearance) Character Actor Archaeologist 1 Karen Archaeologist 2 Emily Archaeologist 3 Jake Enlil (chief god) Sean Shamash (sun god) Grant Ishtar (goddess of love and war) Jamie Ea (god of rivers) Madison Gilgamesh (king of Uruk) Abe Scorpion Man Eli Scorpion Woman Madison Siduri (woman with inn) Meggie Urshanabi (ferryman) Graham Utnapishtim (the immortal) Jack Saba (Utnapishtim’s wife) Aneesa The snake Cheyenne Scene 1: Archaeological dig in Iraq Archaeologists 1– 3 in front of stage, stage right, where they remain throughout play. Archaeologist 1: Look, what is that? Archaeologist 2: Oh, it’s cuneiform tablets! Archaeologist 3: What do they say? Archaeologist 1: Here, I think I can read them. Can you get me the dictionary and the magnifying glass? Archaeologist 2: OK, Professor, here you are. Archaeologist 3: What do they say? What do they say? Archaeologist 1: Will you be quiet so I can look at this! Archaeologist 2: They’re probably just warehouse records. Archaeologist 3: Maybe, maybe, but what do they say? Archaeologist 1: Let me see—it seems to be a story. The beginning seems to be missing. This bit says, “Gilgamesh, King of Uruk, sees the Scorpion People, they guard the entrance to a tunnel …” Archaeologist 2: This cuneiform tablet seems to have a title on it. Archaeologist 3: “The Epic of Gilgamesh” Archaeologist 1: Well, well, well, I’ll continue … Gods enter and remain in front of stage, stage left. Scene 2: In the Mashu Mountains Enlil (before stage): I am Enlil, God of the Wind.
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