Abstract:

Karagöz, as one of the traditional Turkish performing arts, is positioned according to conditions of the time in parallel to social, cultural and political developments from 16th to 21st century. Shadow-show screen naturally reflects the reality of the social structure from which it takes its light. The “Olden (Kar-i Kadim)” plays, which coincides with the times prior to modernization efforts of Ottoman Empire, lean on allegories of theological world understanding, mysticism, neighborhood culture fueled by traditional community spirit. In periods following the Ottoman’s renovation efforts, in ‘Newly Invented (Yeni-Nev-icad)’ plays, Karagöz turns into political satire. Karagöz is politicized by thinking of satire and humor elements in the play in terms of “new human,” it becomes the voice of opposition against the palace. After the Republic, as a continuation of state-directed initiatives to regulate the constituent will’s ‘nation-state’ principle in the field of art-culture-education, shadow show has been modernized in accordance with principles of ‘revolution literature.’ Transformation of Karagöz focuses basically on identity and representation relations along with language in the act, play technique and features of the materials, uses in the repertoire of play types. In this study, firstly traditional structure and function of Karagöz as a folklore element, afterwards reasons, results and reflections of modernization efforts on this traditional genre in new literature will be evaluated. Appearances of Karagöz in different periods will be approached with an attention on finding out differentiation in play types and themes. By following the course of Karagöz in time, questions such as projection of era-artwork interaction, approach to traditional texts with modern expectations, representation relationship in the matter of ‘rewriting/inability of rewriting’ the traditional text, literature and intervention to literature as an opportunity to create a community will tried to be answered.

Keywords: