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Türk tiyatrosunun geleneksel (metinsiz) tiyatrodan Batılı (metinli) tiyatroya geçişi süreci, kendiliğinden değil, resmi ideoloji eliyle gerçekleştirilmiştir. Batılı tiyatronun ideal, gerçek tiyatro olduğu düşüncesi saray ve çevresi, devlet görevlileri, Türk elçileri ve yabancı elçilikler, aydınlar ve basın tarafından yayılmış, benimsenmesi sağlanmaya çalışılmıştır. Yani çıkış noktasında Batılı anlamdaki Türk tiyatrosu, öğretici ve ideoloji taşıyıcı bir aygıt olarak kullanılmak istenmiştir. Bu makalenin amacı da söz konusu dönemde tiyatro metinlerinin idealleştirme işlevini araştırmaktır. Çalışmada kullanılan yöntem, nitel araştırma yöntemidir. Bu yöntemden, oyun metinlerinin analizinde faydalanılmıştır. Dolayısıyla cevap aranacak sorular konunun niçin seçildiği, oyun kahramanının yargılarının ve eylemlerinin nasıl oluştuğu, çevresinden ne şekilde etkilendiği ile aynı tartışmaları açmayı hedefleyen oyun metinleri arasındaki benzerlikler ve farklılıklardır. Bunun için 1923 – 1946 yılları arasına değinen kuramsal çalışmalarla birlikte, söz konusu dönemde yazılan tiyatro oyunları değerlendirilmiştir. Oyunların dramatik yapılarında tema, çatışma, kişileştirme, mesaj gibi unsurlar bakımından önemli benzerlikler saptanmıştır. Bu benzerliğin nedeni söz konusu dönemde tiyatronun devlet tarafından teşvik edilmesi ve denetlenmesi olarak okunmalıdır. Böylece Türk oyun yazarlığı tarihinin dayandığı temel, çeşitlikten çok tektiplik, bireysel olandan çok toplumsal olan, estetikten çok işevsel ve var olandan çok idealize edilendir. Dönemde Cumhuriyet’i idealleştirmek için Osmanlı’ya ait değerlerin olumsuzlanması, salt Batı’ya öykünmeyip milli değerlere sahip çıkılması gereklilikleri vurgulanırken; ideal kadın ve erkek de buna göre kurgulanmıştır. Böylece ideal kadının özellikleri milli değeri olan Anadolu kültürüne sahip çıkan, ülkesi ve ailesi için her şeyi feda etmeye hazır olan kadın; ideal erkeğin özellikleri ise vatanına bağlı, dinç, çalışkan, cesur olarak tanımlanmıştır. Bu dönem yazarlar için de yeni bir dönemdir; yazdıkları dramatik metinler yeni bir türdür. Bu nedenle onların da Milli Mücadele, Cumhuriyet, Batılı değerler, milli değerler kavramları arasında sıkışıp kalmalarına şaşırmamak gerekir. Diğer yandan dönemde bu konular haricinde kalem oynatan yazarlar dışlanmıştır. Yazarlar için kaçınılmaz olarak statüko önyargısı oluşmuştur. Bugünden bakınca Türk tiyatrosunda hala kuruluş yılları ile hesaplaşma yapılamadığı, buradaki hikayelerin tükenmediği söylenmelidir.
The process of transition of the traditional (non-methical) theatre to the Western (methical) theatre, not by itself, was carried out by the hands of the official ideology. The idea that the Western theatre is ideal, a real theatre has been tried to ensure its adoption, spread by the palace and its surroundings, government officials, Turkish ambassadors and foreign embassy, light and the press. That is, at the outcome point, the Turkish theatre in the Western sense was intended to be used as a teaching and ideological device. The purpose of this article is also to explore the function of the idealization of the theatrical texts in this period. The method used in the study is the quality research method. This method has been used in the analysis of the game texts. So the questions to be answered are the similarities and differences between the topic why it was chosen, how the judgments and actions of the game hero were formed, how it was affected by its surroundings and the game texts aimed at opening the same discussions. For this, along with the theoretical work referred to between 1923 and 1946, the theatrical games written in that period were evaluated. In the dramatic structures of the games, significant similarities have been identified in terms of elements such as theme, conflict, personalization, message. The reason for this similarity should be read as the promotion and supervision of the theatre by the state during the period concerned. Thus, the basis on which the history of Turkish play writing is based, it is more typical than diversity, more social than individual, more business than aesthetic, and more idealized than existing. In the period, the negative values of the Ottoman to idealize the Republic are emphasized, not to the only West, and the needs of possession of national values are emphasized; the ideal women and men are also established according to this. Thus the characteristics of the ideal woman are defined as an Anadolu culture, which is the national value, the woman who is willing to sacrifice everything for her country and family; the characteristics of the ideal man are defined as attached to her homeland, reliable, working, courageous. This period is also a new period for writers; the dramatic texts they write are a new kind. Therefore, it should not be surprised that they are also stuck between the concepts of National Struggle, Republic, Western Values, National Values. In the past, the writers who have played the paintings were excluded. For the authors there was inevitably a statuto prejudice. From this point of view, it should be said that in the Turkish theatre it is not yet possible to calculate the years of establishment, the stories here are not exhausted.
The process of transition of Turkish theater from traditional (text-free) theater to Western (written) theater was not carried out by itself but by official republican ideology. The aim of this article is to investigate the idealization function of theatrical texts in this period. For this purpose, theoretical studies about 1923-1946 and theater plays written in this period were searched. Significant similarities were found in the dramatic structures of the plays. The reason for this similarity is that the state encouraged and controlled the theater during this period. In order to idealize the Republic in the period, the value of the Ottoman Empire was negated and the necessity of protecting national values was emphasized. Ideal men and women are also designed accordingly. Thus, the characteristics of the ideal woman are those who protect the national culture of Anatolia and are ready to sacrifice everything for her country and family. The characteristics of an ideal man are defined as vigorous, hardworking and courageous. This was a new era for writers, too; the dramatic texts they wrote were a new genre. Therefore, it is not surprising that they are stuck between the concepts of National Struggle, Republic, Western values and national values. On the other hand, writers who wrote on other topics were excluded. There was inevitably a status quo bias for the authors. For these reasons, current and real-life issues such as the effects of the revolutions on the people and the problems of the groups that mutually label each other have been ignored. The aim was not to discuss what exists; it was to show what the ideal be. From today's point of view, it is necessary to say that Turkish theater is still not interested enough in the foundation years of the Republic and the stories here are not over.
Field : Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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