Abstract:

Although there are no healthy scientific information, documents and findings about the origin of the traditional Turkish Theatre, it is possible to associate the origin of the Modern Turkish Theatre with the sefaretnames of the Ottoman. In the sefaretnames, the messengers (sefir) were also widely placed in the theatre and opera games they went to Europe and the transmission of examples from the Western style theatre art has caused serious influences in the state’s management stages, including the princes, and ultimately these stories taken into the western style theatre have led to the becoming the source of inspiration / care object of the Western - modern theatre understanding. After this point, the Turkish Theatre now has a new existence, a new identity. This identity is a text-dramatic theatre, which is the name of the theatrical concept that has dominated in the West for more than two years. Sefaretnames are, in general, one of the main factors of the mental transformation that is experienced in Ottoman, and of the processal change that is carried out towards the West. In other words, the sefaretnames, which are the main motivations of the historical breakdowns in the last periods of the Ottoman, the fundamental paradigm changes, the systemic-corporate renewal and the lifestyle/cultural transformation, are the main sources of application for the search for a new model of a whole empire. However, a dimension of sefaretnamism should also be assessed in terms of the Ottoman diplomacy. In the last two centuries, the Ottoman have been forced to mutually improve their relations with Europe, to integrate with the West due to the changes in the balance of forces. The needs left him face to the fact that a team of factors in the direction of innovation and westernization were instrumentalized, while at this point, important missions were charged with the opera, which is the theater and musical stage game. Thus, the theatre and opera, the fundamental dynamics of Western art understanding, became one of the important motivations of international relations, the diplomatic procedures of Europe and the will of Westernization. The main elements that made them effective and thus served the processes of international integration and opened the door to the change of mind in Ottoman were the sefaretnames and the wills of the princes that the messengers received the pen. In other words, the motor forces of the change to the West of the Ottoman foreign policy and the fundamental paradigms of Ottoman are the sefaretnames and the padişah wills, the protagonists of the historical breakdowns, system changes, corporate renewals and lifestyle/cultural transformations in the last periods of Ottoman. The objectives of these two are theater and opera. While this study focuses on the sefaretnames that have such important functions, it aims to keep light on the main sources of inspiration for the sharp paradigm change in the Turkish Theatre / the formation of the Modern Turkish Theatre. The study, which aims to evaluate the effects of the theater and opera on the international relations of the Ottoman and the process of Westernization, addressed the degree of the outer policy of the opera and theater activities, which are part of the diplomatic understanding of the Ottoman, especially in the last centuries, with a qualitative - illustrative method; in the content analysis, it used the qualitative understanding of the requirements of the qualitative research method.

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