Contemporary Interpretation of the Epic of Gilgamesh: Gilgamesh Operas by Nevid Kodallı and Ahmed Adnan Saygun
İbrahim Şevket Güleç, Elif Sanem GüleçWithin the realm of opera literature, two notable works draw inspiration from the Epic of Gilgamesh: "Gilgamesh," composed by Nevit Kodallı with a libretto by Orhan Asena, and another piece with the same title composed by Ahmed Adnan Saygun, who also wrote the libretto. While the overarching theme of Gilgamesh’s quest revolves around immortality, Kodallı approaches it as a means, emphasizing the protagonist’s profound desire for freedom. Gilgamesh’s journey, portrayed by Kodallı, unfolds as a transformation into a wise man with an unending passion for freedom. In Saygun’s rendition, the narrative of maturity is woven through the lens of Sufism. Death in this context is not an endpoint but a commencement, adding depth to the story. This paper delves into how composers and librettists interpret and reshape the epic, exploring the divergence and derivation from the original material. The analysis considers various aspects, including storyline, characters, time, place, and theme, shedding light on the intertextual affiliations that aid in understanding these new compositions. The paper emphasizes the evolution of themes and changes in forms as the central focus. As these shifts are examined, the evaluation encompasses subcategories such as storyline, characters, time, place, and theme. The exploration of intertextual connections draws parallels between dramaturgical analyses of opera pieces, offering valuable insights for staging opera productions.
Gilgameş Destanının Çağdaş Yorumu: Nevid Kodallı ve Ahmed Adnan Saygun’un Gilgameş Operaları
İbrahim Şevket Güleç, Elif Sanem GüleçOpera literatürümüzde Gilgameş destanından esinlenerek bestelenmiş, iki eser vardır. Birincisi müziği Nevit Kodallı’ya, librettosu Orhan Asena’ya ait olan Gilgameş, diğeri müziği ve librettosu Ahmed Adnan Saygun’a ait olan Gilgameş operasıdır. Gilgameş destanının teması ölümsüzlükken, Kodallı’nın eserinde ölümsüzlük bir araç olarak ele alınmıştır. Gilgameş’i Gilgameş yapan perde sonuna dek tükenmeyen özgürlük tutkusudur. Destan boyunca olayların akışı içinde kahramanın olgunlaşması, bir anlamda bilgisizlikten bilgiye geçiş sürecidir. Saygun’un eserinde, Gilgameş’in bilgisizlikten bilgiye geçişi tasavvuf yoluyla ele alınır. Gilgameş’te ölüm vardır, ama bu ölüm, bir son değil bir başlangıçtır. Destanın librettoya uyarlamasında asıl metinle kurulan paralellikler-uzaklaşılan noktalar ve destanın bestecilerin bakış açısına göre nasıl yapılandığı çözümlemenin odak noktasıdır. Besteci ve libretto yazarı biçimsel ve içeriksel değişimle konuyu yeni bir bağlamda ele alırken, yeni metinler, metinlerarası bir bakış açısı benimsenerek kavranabilir. Çalışmada yeni tema ve biçim dönüşümünün irdelenmesi amaçlanmaktadır. Bu biçim dönüşümü incelenirken eserler “Olay Çizgisi/Kişiler/Zaman/Mekân/Tema” başlıkları altında değerlendirilmiştir. Metinlerarası ilişkilendirme, bir operanın dramaturjik çözümlemesiyle paralellikler gösterdiğinden, bu çalışma eserlerin sahnelenme aşamasında benzer çözümlemeleri desteklemesi açısından önem taşımaktadır.
Folk literature undergoes transformations in form, content, and function, reflecting changes in genre and ideological perspectives. These adaptations, seen in opera librettos, incorporate various approaches like quotation, reference, allusion, reflection, imitation, collage, montage, and rewriting. Orhan Asena’s play, "Gods and Humans (Gilgamesh)," staged in 1954 with music by Nevit Kodallı, was later adapted into an opera in 1963. Ahmed Adnan Saygun, on the other hand, composed the Gilgamesh opera based on the classical text, crafting the libretto himself between 1964 and 1979.
The production process involves the recontextualization of the subject by the composer and librettist, resulting in new forms and content that can be understood through an intertextual perspective. Intertextual references connect with the old literary tradition, invoking national and universal emotions. Works based on the Gilgamesh epic are thus defined as rewriting. Orhan Asena’s play, created during the 1950s amid political and social transformations, reflects a narrative where the gods side represents outdated systems hindering progress. This forms the basis for the Gilgamesh opera’s structure.
Both Kodallı and Asena maintain the hero prototype in the epic, depicting Gilgamesh as a multifaceted character—ruler, lover, friend, and mortal. The opera includes a passionate yet conflicted love and a friendship story, highlighting Gilgamesh’s mortality. Saygun, composing in the tumultuous 1970s, presents a Gilgamesh punished by the gods for his tyranny. The hero’s search for immortality leads to loss and transformation, evolving from a cruel king to an emotional hero who heeds the warnings of his people. The hero’s maturation, a transition from ignorance to wisdom in the epic, is portrayed through the Sufi way in Saygun’s opera. The struggle for self-purification leads to the transformation of fear of death into a pursuit of immortality, where death is not an end but a new beginning.
The study explores how composers and librettists, influenced by their thoughts and the socio-political context, redefine the main message of the epic. Intertextuality parallels dramaturgical analysis, creating a model that interpreters can use in their roles. Incorporating drama art lessons in opera department curricula can enhance the theatrical success of singers on the international stage. To present an opera with high visual aesthetics, correct analysis of the dramatic structure is essential during staging, providing a reference source for understanding and interpreting the work effectively
