Özet:

Necip Fazil Kısakurek is well known with his identity of poet and intellectual in the Turkish literature. He also has a well reputation as theatre writer due to his works Tohum (1935), Bir Adam Yaratmak (1938), Künye (1939), Sabır Taşı (1940), Para (1941), Sır (not finished 1946), Parmaksız Salih (1948), Siyah Pelerinli Adam (1949) , Reis Bey (1960), Ahşap Konak (1960), Kumandan (not finished 1960), Abdülhamid Han (1965), Kanlı Sarık (1967),Yunus Emre (1969), Mukaddes Emanet (1971), İbrahim Edhem (1978), Püf Noktası (2000). According to Necip Fazil Kısakurek, theatre is a touching and powerful mean that can explain the thesis of thesis. Therefore he explains his thoughts within his plane texts and novels in his theatres in the form of theatre and some times in the form of harangue. He uses Allah and related to this beliefs, soul, meanings and morality as topics in his theatres. He approaches the subjects of destiny, death, time, place, human being, inner struggle, emotions, weaknesses and transitions in his theatres. Struggle for motherland and nation, history of Turkey, modernization of Turkey, Anatolia, important names in the Turkish and Muslim world are among the other subjects in Necip Fazil’s theatres. Necip Fazıl’s theatres are influential, powerful and surprising source for the readers and spectators who wish to evaluate the Turkish history from Necip Fazıls’s points of view and to understand Necip Fazil with the various topics he used in his theatres.

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