Özet:

Sermet Çağan, being one of the representatives of political theatre in 1960s, is an author aiming to contribute into social upheaval in his works. Leaving his mark on the era with his opposing view, the author stands against "deculturation" epidemics and undertakes the responsibility of raising awareness of people and informing them about criticizing unfair system. The author occasionally uses a symbolic language to express social problems and emphasizes the lack of communication between intellectuals and people. Being a significant representative of Epic Theatre of Bertolt Brecht in our literature, Çağan gets use of propaganda function of theatre. The author tries to raise a class awareness in his plays with the effect of Marxist theory during military coups. The play titled Ayak Bacak Fabrikası is the work of the author who criticizes relationships between Power-People on the level of exploitation. Çağan believes that a certain class, who creates the authority and tries to protect their own interests, has a voice in every period and becomes a shareholder of the means of state. He indicates that this class exploits people through "Homeland" and "Religion" concepts in moral sense. The author emphasizes how administrators corrupt morals and law concepts. He tries to show how ethical judgments differ by perspectives through the identities he creates. In his works, relationships between oppressed and oppressing classes are presented as a black humour within an ideological approach with occasionally grotesque and humorous style. The play also emphasizes the function of human body to be the carrier of a meaning in dominant ideology by being corrupted. Sermet Çağan creates a political discourse by applying to an ideological grounding through theatre and language that he uses as a system of values in his work titled Ayak Bacak Fabrikası.

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