Paola

Prof.

Gaston

Ethical and Political Implications of “Performance” in a Rural Cultural Practice: Afro-Colombian Women  Singers from the Town of Pogue

Marco

Lecturer

The Ottoman Turk in Maltese Theatre and Drama: A Discussion of the Role of Stereotypes in the Theatre of a Small Nation

Fatine

Assist. Prof.

Joan Littlewood’s Post-Theatrical Engagements Beyond  Theatre Workshop: A Comparison of the Original Fun  Palace Project With the 2014 – 2015 Revivals

Mehmet

Sevim Burak’s Protest Theatre: Understanding Sevim  Burak Through Adorno

Guilherme

Aesthetics in Theatre: The Challenge of Effect Under the Skin

Verda

Öğretim Görevlisi

Studio Oyuncuları’s most recent production Io premiered on November 13, 2019, as the inaugural stage offering of the 23rd Istanbul Theater Festival. The staging of this play and its present-day text based on Greek myths challenges the mythological narratives of the West. Io is a nymph known in classical mythological texts as the princess of Argos and daughter of the river god Inachus. The play discusses concepts emanating from the revelation of biases in representations of the tragic hero Io by reconsidering the narratives based on her character. In this context, the idea of the tragic from the contemporary point of view and the political significance of revisiting myths and reviewing their functions in structuring societies are discussed via artistic performance.The playwright and director of Io, Şahika Tekand, disassembles the mythological discourse functioning as the foundation of the Western society through an aesthetic deconstruction of the myths that construct the narratives surrounding this character. Therefore, this study resorted to the theories mooted by the anthropologist and philosopher René Girard to dramaturgically analyze how this deconstruction works its way artistically through the play. Girard presented one of the most comprehensive perspectives on the functioning of myths in modern Western society, contemplating the relationship between tragedies, mythologies, and history; the social role discharged by myths; and the concept of the tragic. To accomplish the study objectives, a conceptual axis was drawn from Claude Levi-Strauss to Girard to better elucidate the stated ideas.Io asks ethical questions about human existence by associating the concept of the tragic with the blindness, deafness, and amnesia of society in the face of the violence that humanity is currently subjected to in contemporary global systems. Hence, this article examines how the notion of the tragic is handled in Io by utilizing the conceptual constructs of the scapegoat and sacrifice, components of Girard’s theory of tragedy, to scrutinize the myths of this ancient hero. The study’s rationale establishes a dramaturgical link between the play and Girard’s approach, which elucidates the use of narratives and discourses to effect the transformation of historical consciousness into a mechanism that legitimizes violence in societies. Accordingly, this paper aims to contribute to the relevant scholarship by enlightening the dramaturgical foundation of the text and staging of Studio Oyuncuları’s Io, rather than attempting to offer a critical discussion of Girard’s approach to the concept of the tragic.Io asks ethical questions about human existence by associating the concept of the tragic with the blindness, deafness, and amnesia of society in the face of the violence that humanity is currently subjected to in contemporary global systems. Hence, this article examines how the notion of the tragic is handled in Io by utilizing the conceptual constructs of the scapegoat and sacrifice, components of Girard’s theory of tragedy, to scrutinize the myths of this ancient hero. The study’s rationale establishes a dramaturgical link between the play and Girard’s approach, which elucidates the use of narratives and discourses to effect the transformation of historical consciousness into a mechanism that legitimizes violence in societies. Accordingly, this paper aims to contribute to the relevant scholarship by enlightening the dramaturgical foundation of the text and staging of Studio Oyuncuları’s Io, rather than attempting to offer a critical discussion of Girard’s approach to the concept of the tragic.Girard analyzes the tragic cycle of the system mentioned here via the phenomena of the scapegoat and victim. This perspective illuminates how violence operates via a historical mechanism. Girard points to the persecution that occurs through narratives that reveal the views of the writers of history. In directing the viewer’s gaze to this persecution, Io aims to express that violence exists both in the act of persecution and its consequent distortions, oblivion, and inaction. In the last episode of the play, Prometheus extends an invitation to humanity to claim its power and will instead of accepting the role of again becoming the persecutor in the cycle of violence.To conclude, the text and the staging of Io criticizes myths, heroes, anti-heroes, and indeed every icon that humanity has created to enable the functioning of the contemporary world order in which we live. In so doing, Io’s text and staging reveal the veiled violence that forms the essence of the Western society, proposing that real change can be achieved by a radical confrontation and an exodus from the cycle of the system.

Exiled Scapegoat Returns to the Stage: Io

Dog’s Day: Natural Folly and Subversion in Much Ado  About Nothing

Ayşe

In their theory on the social construction of reality, the sociologists Peter L. Berger and Thomas Luckmann state that objective reality is a man-made product. Through reification, humans have internalized it as a heavenly product that has emerged without their interference. The contradiction of experiencing this world as something other than man-made while being capable of creating it corresponds to the reification of reality or its reflection as alienated. However, the intervention of the dominant power to form or manipulate perceptions of reality by attributing meanings to ideas, notions and actions indicates that social reality has not been constructed or generated by supernatural powers as natural laws are, out of the blue, on their own. On the contrary, it showcases that reality is open to manipulation and fictional because it is a result of the dominant power or view. Thus, the 1980 military coup d’état can be said to be an initiative to create a new social reality that was compatible with the interests of dominant powers, altering the existing reality via the government apparatus of oppression and ideology.Following the 1980 coup, the social reality was reconstructed per the requirements of neoliberal economic policies, which included consumption, egocentrism, image, docility and other identities appropriated by the dominant ideology. Masses that produced social practice, such as foundations, organisations, associations, unions, political parties, higher education institutions, and media outlets, were prevented from congregating through depoliticisation and the way for the establishment and adoption of dominant ideology was laid open. The individual producing the former regime’s discourse became insignificant, neutralized, marginalized, and ostracized.&nbsp;In Michel Foucault’s “disciplinary power,” the individual disciplines themselves through a self-evaluation that employs the norms of the power. In disciplinary power, individuals turn into the desired docile subjects by learning and internalizing the hierarchy, discourses of truth, norms, differences, and comparisons that are produced for them. Individuals internalize what is good, bad, true, wrong, desirable, and undesirable; who is persona grata; and who is a traitor for the regime via the control mechanisms imprinted in them through institutions such as prisons, courts and schools. This type of power is closely related to the 1980 coup that turned organizations, masses and individuals held responsible for chaos, violence, instability, and defiance against reigning power into docile and apolitical subjects. The optimal subject internalizes the realities of the new order, with their conscience monitored through the government apparatus of oppression and ideology.Memet Baydur began writing plays in the early 1980s. He produced plays that showcased the 1980 regime, which masked the interests of dominant powers and built a new social reality to construct an identity compatible with those interests. As a witness to the 1980 military intervention, Baydur aimed to demonstrate physical and mental devastation of a society that lost its grounding in reality, by addressing the predicaments, strangeness, lack of communication, and&nbsp;alienation of the individual whom the 1980 coup not only alienated, silenced, and suppressed but also diminished and made unworthy. In Sevgi Ayakları, Baydur scrutinizes the new world order as exemplified by an urban middle class consumed by egocentrism, materialism, and greed. He displays the contradictions of the disciplined individual, questions their cliché values and exposes their highbrow standing as banal and insensitive, ultimately criticizing the social reality the 1980 coup regime strived to construct. This study aims to demonstrate that the 1980 coup, having imprinted the disciplinary power in the individual and disrupted their perception of reality, is a project of constructing an identity that is compatible with the interests of the reigning powers over society through a play dealing with post-1980 individuals who are criticized for their lack of identity and memory.

Sevgi Ayakları: A Reading of the 1980 Coup through “Docile  Subjects”

Bilge

Embodiment suggests that one’s experience of the world is a result of the interaction between one’s bodily qualities and their environment (social, cultural, economic, and natural conditions). Therefore, cognitive processes, such as meaning, imagination, thought, and language, which are abstract concepts, cannot be separately understood from bodily experience and metaphysical qualities; however, they are considered as results of one’s changing activities, which are dependent on their environmental conditions. Accordingly, various theories, such as embodied mind, meaning, and reality, have emerged. Moreover, the enaction theory focuses on the interaction between perception and action, which includes embodied theories, and emphasizes that one’s mutual interaction with their environment occurs through one’s agency. In this sense, the concept of enactive embodiment expands the limit of the word embodiment, which is usually discussed in terms of the tension between the actor’s own body and the character in theater and performing arts. In enactive theories, “action” becomes the activating force of consciousness and “movement” becomes the constitutive element of meaning. This aspect reveals the subconscious bodily foundations of meaning apart from linguistics. The purposes of this study are to highlight such shift in bodily phenomena and discuss the need for a somatic approach in actor training.In terms of actor training, the most crucial aspect of scientific discourse is to emphasize that a well-directed self-reflection on one’s personal experience of movement plays an essential role in developing rich insight about others, increasing empathy skills, and strengthening intuitions. Hence, in the context of theater and performing arts education, a phenomenological self-reflective monitoring of one’s personal experience is the way through which the experience can be opened as a learning space wherein senses can be refined, new questions and answers emerge, and any technique can be personalized, which corresponds to a “conscious experience.” Thus, conscious experience should be understood as a state of being and not as a state of continuous questioning.Movement means that the moving person can visually or tactically perceive and can kinesthetically feel their own movements; in other words, movement is treated as a field of discovery wherein one can directly experience the “internal” and “external” realms through their own movements. In addition, somatic practices are widely spreading in art education worldwide in recent years. They offer the actor an opportunity to practice a phenomenology of movement. This characteristic of somatic practices differs from the investigation of different forms and situations of the phenomenon using the imagination that is observed in Husserl’s eidetic variation. In phenomenological study through the execution of movement, one may discover the relationship between the function and expressiveness of one’s own movements through one’s intention. This aspect indicates that during the execution of movement, as the&nbsp;intention changes (the intention may focus on effort, the shape of the body, a point in space, power, etc.), one realizes the changes depending on the changed intention. During all these activities, the body’s scheme is examined through developmental movement patterns, and as a result, a body image is developed. Accordingly, somatic studies improve reflective and pre-reflective bodily consciousness by developing the senses of proprioception, kinesthesia, and interoception. Therefore, somatic movement practices help performers to exhibit a truly embodied acting on stage and achieve performative awareness, that is, a special heightened state of consciousness that occurs in the performance of actors, such as dancers, athletes, or musicians.Somatic practices pertain to training the behavioral sensory and perceptual sensitivity. The actor gets an embodied experience through somatic practices by discovering the connection between action and intention, physical and emotional states, and function and expression through their own experience. Such an experience constitutes the first step of embodied acting on stage. Therefore, this study highlights the need for a somatic approach as a base of actor training to facilitate the understanding of embodied theories from a scientific perspective.

Reflections of Embodiment and Enaction Theories on Contemporary  Theater Practices: Somatic Approach in Acting Training

Hazal

In its most basic meaning, the topic of this paper, neutral mask, is a means of discovering a body state that can prepare an actor for a play before beginning to create the character and the role.&nbsp;As a start point for the actor, the neutral mask precedes the character and role building. In this context, it is an inter-space in which the actor is no longer in the actor’s ordinary body and does not yet establish otherness. Why is the actor invited into a neutral degree before vitalizing the other? What are the possibilities for the actor, of which the term “neutral” might indicate?&nbsp;Throughout the article, the possibilities that the term “neutral” and the above-mentioned inter-space can imply and the meanings they may give birth to in theatricality will be discussed in two distinct yet interrelated directions. First, the neutral state of the body of the actor will be examined as a quiet, relaxed and tensionless body study, in the sense of a state of openness and vigilance. In this regard, the relation among the presence of a tensionless body and the actor’s listening to the surroundings and others will be discussed; and it will be noted that the tensionless body, as the actor’s presence as a state of body, and as one of the main aims of neutral mask studies, never refers to a loose, non-energetic body. Neutral mask, by eliminating the face, helps the actor search for possibilities of expression and play in the actor’s body. While the existence of a mask covering the face may first suggest a feeling of being concealed, it actually broadly reveals the body capabilities of the actor. That is, by distancing the actor from the ordinary and settled gestures, verbal expressions, and movement and acting habits, the mask provides a possibility for the actor to explore different bodily opportunities.Within the acting studies, the mask gives the actor a body form and a possibility of play. Since the mask is unexpressed, it demands a body that is unexpressed from the actor. In this regard, it is a means to create a neutral state of body in which no expression and no character extension is yet formed. In fact, it was the collaborative work of Jacques Copeau and Albert Marque, that first designed the neutral mask, based on the concept of masks that have no expression used by the aristocracy during the 18th century. While this characteristic of no-expression of the neutral mask will establish the second direction of the article, the term “neutral” will also be read with Philippe Lacoue-Labarthe’s active mimesis and passive mimesis as a state of inexpressive, neutrality where no character is yet formed, in order to discuss what the actor’s quest for a ground without any identity or belonging corresponds to. According to Lacoue-Labarthe, the paradox is that the more the actor is nothing, the more the actor is able to be everything. With the neutral mask practices, the actor searches for a state of body in which no expression, adjective and characteristic that might refer to oneself or another is carried, toward being able to take the form of everything. The more the body of the actor is eluded from its belongings, the closer the actor is to taking the form of otherness,&nbsp;to playfulness, to the gift of mimesis as the creative and productive or formative force. This follows Dionysos, the source of Western theater, which has no pre-established form. Theatrical mimesis, for Lacoue-Labarthe, is the ‘‘the presentation of something other, which was not yet there, given or present.”The last part of the article explores how this very neutral ground where differentiation and transformation is possible, reserves a substantial capacity for the comedy, will be also explored. In this regard, the possible relation between neutral and comedy will be based on considering the comedy potential that the act of taking theatrical form or disguise holds.&nbsp;

Neutral Mask, Neutrality, Comedy

Murat

Sami

Türkiye’de Oyun Yazarlığında Yeni Eğilimler IV

Nilgün

Call for Papers Special Issue for December 2024 (Issue 39)  “Theatre in Iranian Society”

Magda

Prof. Dr.

Body as a Machine: Meyerhold Between Politics and Theory

Arzu

Assoc. Prof. Dr.

Showing parallels with art and literature, body image and body perception change according to the needs of the era. For instance, while the understanding of the ideal body, beauty, and perfection were dominant especially in Ancient Greek art in the Classical period and later, body image and perception changed in the opposite direction in the early Renaissance alongside the emergence and takeover of the concept of the grotesque in the late Renaissance Period, with deformed and dismembered body images starting to appear in works of art. In the modern period, specifically under the influence of the concepts of loneliness, alienation, and otherness, this perception of the distorted body was also sometimes depicted in an exaggerated manner and sometimes presented as dismembered body images. In other words, grotesque body images continued to be the subject and source of inspiration for art and literature. During the Renaissance, one of the most remarkable works of art in terms of the use of grotesque was Rabelais’s Gargantua and Pantagruel (1564), which Bakhtin analyzed in detail in his Rabelais and His World (1965). Taking Rabelais’ work as a starting point, Bakhtin constructed grotesque features on organs such as the mouth, dismembered body parts, anus, and reproductive organs and expressed how the grotesque appears through the exaggeration or deformation of these organs.In accordance with this, the current study attempts to present Sevim Burak’s original use of Renaissance (folk) grotesque as an element of folklore and Romantic grotesque as generally related to the concept of the uncanny and how Burak blended these with each other. In this context, the study analyzes Burak’s play Here Is the Head, Here Is the Body Here Are the Wings (1984), in the framework of the Bakhtinian grotesque body image. The article also proposes this play to have basically been constructed over three elements (i.e., sub categories) of the Bakhtinian grotesque body image in the framework of the Renaissance (folk) grotesque: 1) mouth and insatiable appetite (i.e., glutton), 2) dismembered body, and 3) lower parts of the body and defecation. In the first part of the play, two women, Melek and Nıvart, have insatiable feelings of hunger, and their action of constant eating are frequently observed. In this same part, dismembered body images being torn into pieces draws attention in the context of Bakhtinian grotesque body image. As for the second part of the play, the lower parts of the body (i.e., male and female genitalia) as well as the action of defecation are observed with respect to the grotesque body image. The study additionally focuses on some findings regarding carnival theory, which Bakhtin related to the grotesque, and observes how certain scenes of the play have a carnivalesque atmosphere that has been created in parallel with Bakhtinian carnival theory, with all boundaries, primarily the boundaries between sexes, being turned upside down in this atmosphere. The study additionally reveals the play to not only carry the elements of the folk/Renaissance grotesque constructed upon the elements of laughter and exaggeration, but also the elements of the Romantic grotesque based on the concept of the uncanny, with the playwright making use of these two types of grotesque imagery by intertwining them with each other. In this context, the present study aims to exemplify the original use of Bakhtinian grotesque body image through Sevim Burak’s play.&nbsp;

Grotesque Body Image and Carnivalesque Elements in Sevim Burak’s Play Here Is the Head, Here Is the Body, Here Are the Wings

Tuğçe

Assist. Prof. Dr.

Philosophy has become an increasingly important discipline in the field of theatre and has helped to question it conceptually. To approach theatre philosophically is to rethink the training and methods of actors and to allow actors to reinterpret their own experience from different perspectives. While the body continues to be a conceptually debated issue in these philosophical enquiries, the literature on debates about what the body is has oscillated historically between Cartesian dualism and opposing ideas. Thinkers have come to different conclusions about the existence of the body, its relationship to the mind, and how it perceives the world. These studies have taken place not only in philosophy, but also in theatre and performance.The purpose of this article is to present some propositions about the relationship between the actor and their fictional character in the context of Maurice Merleau-Ponty’s phenomenology. Several reasons exist as to why this relationship is seen as a philosophical problem. The first and most important reason is the intense relationship between the actor and the fictional character. Within the framework of studies related to the body, a desire exists to interpret the process of the actor’s embodiment of a character from a philosophical perspective. The aim is to redefine the process by discussing the actor’s orientation to the world of the fictional character as a philosophical body object. Another reason is the parallelism between the mind-body connection, which is the starting point of Merleau-Ponty’s phenomenology of the body. A similar relationship is believed to occur in rethinking the process of the creation of a character.In order to interrogate the actor’s body in a philosophical context, a framework has been established using French philosopher Merleau-Ponty’s conceptualizations of the lived body, orientation, perception, spatiality, and embodiment. The starting point of this framework is the claim that the body is a philosophical phenomenon. The dualistic perspective, which proposes the body to be a form of representation, is excluded here. Merleau-Ponty’s fundamental objection to dualism and the problem of representation is well known. Moreover, the spatial existence of the body is related to the actor’s perception of the character. This perception belongs to staged and fictional spaces. Because space is as important an element as character in theatre, the actor’s spatial perception is emphasized. Therefore, in order to reinterpret the relationship between the actor’s body and the fictional character, the philosophical meaning of the relationship between the actor’s body and the fictional character can be discussed in light of Merleau-Ponty’s phenomenology based on the mind-body connection.Merleau-Ponty’s phenomenology of embodiment suggests that the body and mind are interconnected and that everything in the world has a connection to the human body. This interconnectedness allows access to the truth about objects in the world. To have a body is to exist in the world, and the body is the means by which one accesses everything outside of oneself. Similarly, the truth of a fictional character must be accessed through the body of an actor. The actor’s body temporarily erases itself and becomes a vessel to make the character visible in the world. The actor can physically interact with the object and evaluate it based on its external appearance.&nbsp;The actor who perceives the real world in which they live through their own orientation will also experience the space of the fictional character within their own perceptual limits. The talent generally associated with acting and expressed as the actor’s intelligence can be related to the limits of the world that the actor constructs for themself. The experiences they carry with them and in all their formations open up a space for them to perceive the mind-body unity of the fictional character. Merleau-Ponty said that the objects that surround one determines one’s attitude toward the world. The actor constructs new ways of thinking by bringing the experiences of the world they perceive with their own experience to the character’s perception of the world. This thinking is really an attitude. In other words, the body is the result in which all states of the world are immanent.

An Essay on the Relationship Between an Actor’s Body and Their Fictional Character in the Context of Merleau-Ponty’s Phenomenology of Embodiment

Melike

Tracing the origins of anti-theatrical imaginations across a broad period, from Platon to Nietzsche, is possible. However, imagining a theatre devoid of human-actors might represent the most radical of the anti-theatrical endeavors. This would mean disarraying the actor–audience dichotomy, which stands at the navel of the theatre’s ontic components. Today, as an aesthetic pursuit in contemporary theatre, performances without human-actors are frequent. Nonetheless, dreaming of this move—of constructing a dramaturgy centered on a theatrical design without human-actors—is not just a contemporary approach that is exclusive to new dramaturgies. In contrast, it is an idea that dates back almost two centuries.&nbsp;The first part of the article explores this idea and presents the views of pioneers who based their theatrical imaginations on the “non-human actor.” Theatre without human-actors has been performed since puppet theatre existed. On a theoretical level, however, eliminating the human-actor from the theatre gained traction in the late 19th century, especially concerning symbolism. The essay “On the Marionette Theatre,” written by Heinrich Wilhelm von Kleist in 1810, is regarded as one of the earliest instances in which this notion was proposed as a theatrical aesthetic model. In this essay, Kleist argues that puppets operate on a plane unaffected by human volition and that the human body is incompatible with nature in motion.Writing in the same years as Kleist, Charles Lamb stresses in one of his essays the inadequacy of the human-actor. For him, the theatre’s art corrupts the dramatic text’s literary power. Lamb’s argument is important because it significantly influenced Maurice Maeterlinck’ views on theatre. Maeterlinck posits in his renowned essay “Un Thèâtre d’Androdes,” published in 1890, that by their imitative nature, artistic creations are artificial and methodological constructs that can only be conformed to by inanimate beings. As the human presence violates the condition of the artificiality of the artwork, the absence of the human-actor (as an aesthetic goal) is therefore an inevitable necessity.Another symbolist, Gordon Craig, asserts in his famous 1908 essay “The Actor and the Über-Marionette” that acting is not an art. He sees that the human-actor, one of the ontic elements of theatre, is alive as a problem for the art of theatre. This is because, as a living material, the human being can never be entirely controlled. On the assumption that the puppet, being an inanimate material, is more suitable for theatrical use due to its capacity for manipulation, he proposes the notion of the über-marionette.Meanwhile, Vsevolod Meyerhold envisioned the human being as a body that would work like a machine on stage. This projects the idea that the stage is a set of signs and that the actor is only one of these signs. For him, the actor is a moving unit on the stage. In contrast to the Symbolists, he did not exclude the human-actor from the stage; rather, he focused to control the human-fallible actor’s body as if it were a controllable machine, for reasons similar to those of the Symbolists. According to Meyerhold, the desire to control the error-prone body of a human actor results in the development of a physical acting channel rather than a character-oriented acting channel. The anti-theatricality of this channel is not at all reminiscent of that of the Symbolists, for here, the actor’s physical presence remains central to the theatre.The second part of the article focuses on today’s productions without the human-actor. In this respect, the performances with animate and inanimate beings replacing the human-actor on the stage are briefly mentioned, respectively: Heiner Goebbels’ Stifters Dinge, Romeo Castellucci’s The Rite of Spring, Rimini Protokoll’s Uncanny Valley, and Rimini Protokoll’s Temple du Présent. The mechanisms underlying the exclusion of human beings from stage in contemporary theatre frequently diverge from those of its early symbolist predecessors, as the latter does not strive to substitute humans with humanoids. The stage is redesigned in this context with a post-human perspective, which deconstructs the Anthropocene world. The aforementioned examples suggest a novel relational model in which the human is not the focal point. As suggested by Gertrude Stein in her landscape formula at the beginning of the last century, the contemporary theatre presents a conceptual framework wherein all elements exist in interconnection.

An Anti-theatrical Dream: Theatre Without Human

Merve

Res. Assist.

Splitting out of Class: Family and Social Class as Schizophrenogenic Forces in Frank McGuinness’s Observe the Sons of Ulster Marching Towards the Somme

Bengü

Ancient myths transformed into symbols and became the deepest part of Western thought and art. After the Renaissance in particular, myths evolved into a tool of expression and thinking, and after became the basis of mythology, which is the subject of a science. A Greek word, myth, universalizes from Ancient Greek beliefs and refers to the allegorical accounts of these beliefs. Attempts must be made to understand any literary text, especially theater texts as they are in the closest contact with all the emotions and life of the people and period, as well as to read these works with knowledge of what the social structure of that period was like. Because anything that did not occur in social life would not have appeared either in literature or on the stage.The tragedy of Oedipus brings the duality of fate and vanity to the stage; it describes step by step what happens to the main character, who is sank in the divine hybris, and how he descends from the top of the wheel of fate to its bottom. Meanwhile, all characters are unaware of what is happening, and of the tragic event into which they have fallen. Oedipus, who unknowingly kills his father Laius, arrives in the city of Thebes and sees that a divine curse has fallen upon the city. The Sphinx stands at the top of the city and demands the answer to the riddle he asks. By solving the riddle, the answer to which no one knows or dares to answer because the sphinx swallows those who do not know the correct answer, Oedipus becomes king of the city that is headed by the queen, whose husband is dead. When he takes over this kingdom, he is a proud and confident man. But over time he begins to realize that things are not going well. First the plague begins to spread to all the people, and while whole families perish, Oedipus and his family are remain healthy. The tragedy of Oedipus, rewritten by Seneca during the imperial era of Rome, begins with the main character’s plea. Oedipus asks the gods in horror why he is healthy while so many people are wasting away. He comes to realize that the gods have a much worse plan for him. In both versions of the tragedies, Oedipus arrives, replacing the former king as the husband of the queen, who is practically obliged to remain in charge of the city, or more accurately, as the representative of the city. In antiquity, having a woman be alone was not preferable, so the one who leads the city rules both the city and the woman at its head, who is the representative of the old kingdom. From this point of view, the woman, Iocasta has no choice. In the Greek world, especially women were completely excluded from social life and had almost no place on the stage; even their death has announced by messengers or described by someone else. On the other hand, women in Ancient Rome were seen to be a little more involved in social life and to also be reflected on the stage; Iocasta, the female face of the tragedy, experiences her pain on stage in the tragic plane established by Seneca and she killed herself on stage as she says her last words and explain her feelings. The fact that this dramatic scene is clearly narrated and experienced by a woman reminds the audience that the story has another tragic character. Oedipus does not bear this shame alone, the woman who gave birth to him and then married him also expressed her shame in a shocking way.In conclusion, one can clearly see the explicit distinction between Sophocles’ and Seneca’s texts and understand that this distinction is a reflection of social life. The fact that the female figure remains in the background in tragic texts does not mean that nothing tragic happened in the female side of the narrative. On the contrary, a much more passive and doomed female model is read. This is why the study has taken Iocasta as an example; seeing how she is positioned within a notion as well known to the public as the Oedipus complex will allow for an objective reading to be made and help at better understanding the emotions the fateful dilemma created in the characters.

The Female Face of Oedipus Tragedy: Iocasta

Gamze

Simon C. Estok defines ecophobia as “a uniquely human psychological condition that prompts antipathy toward nature.”1 Estok emphasizes that ecophobia has genetic roots and that these roots function in part to protect our species. Therefore, evolution causes a fear of the dark, of snakes, or of various natural events. On the other hand, although these fears have the potential to develop into ecophobia over time, Estok underlines that this instinctive fear differs from ecophobia. Estok reveals that ecophobia is present in novels, films, and other narrative genres that exploit, nurture, elaborate, magnify, and distort such fears in order to market a story, product, or politician.Ecophobia, like homophobia, misogyny, racism and speciesism, is perpetuated through language-embedded stereotypes and can exist openly or implicitly in literature and art. Estok, who explores the underlying causes of ecophobia using a historical approach, traces the emergence of ecophobia to the Bible, which gave people the right to control everything that exists, including the lives of those around them. “Control, of course, is the key word here,” says Estok, and interprets human history as equivalent to the history of control of the natural environment. Estok, who emphasizes Francis Bacon’s views that nature exists both for and because of humans and that the aim of science is to regain the dominance that humans have partially lost, argues that this desire for control transforms nature from a subject into an object that can be indefinitely controlled and used for continuous production by the capitalist economy. At this point, like other theorists working on ecofeminism and queer ecologies, Estok emphasizes the similarities between ecophobia and other discriminatory ideologies. For example, Val Plumwood points out the resemblance among misogyny, racism, speciesism, and hostile attitudes toward nature and shows that the same way of thinking underlies each of these approaches. Plumwood states that the fault line of dualisms that clusters as culture/nature, mind/nature, man/woman, mind/body and subject/object is common, and in order to understand these dualisms, the crucial connections and common structure that they share must be addressed. Estok, who explores theorizing the ecophobia hypothesis with awareness of these connections, invites ecocriticism—which devotes itself to establishing connections in a way that echoes ecology—to accept that issues such as ecophobia, racism, misogyny, homophobia, and speciesism are already tightly interconnected and therefore must ultimately be addressed together.In the light of Estok’s ecophobia hypothesis, this article, which will discuss Murathan Mungan’s play Geyikler Lanetler from an ecofeminist perspective, aims to discuss the relationship between the nature/culture duality encountered in the play with other dual clusters and to track the traces of ecophobia in the play. As is often seen in his other works, Murathan Mungan gives an important place to nature and women in Geyikler Lanetler. The play tells the story of four generations of a tribe and how the tribe, which had lived a nomadic life for years, remained stuck between its own customs and the laws of nature during its transition to a settled way of living. This piece establishes a multi-layered structure, including a narrative in which dreams and reality often mix together as well as transitions in both time and space.It is possible to observe the nature/culture duality within the play, specifically in the conflict between the natural order and the customs of the tribe. The characters, who regard the laws of the tribe as supreme, are portrayed as tragic characters who risk losing their eyes, their children, and even their lives for this cause. Against these traditions, nature is depicted as an unpredictable and uncanny force. Through the connections emphasized by Estok, it is also possible to interpret other dualities in the play that connect to the fault line between the nature/culture dichotomy. In this context, critical examination of the positioning of nature and women in the play from an ecofeminist perspective offers a convenient perspective from which to address the different layers of the play.&nbsp;

Tracing Ecophobia: An Ecofeminist Look At the Nature/Culture Dichotomy in Murathan Mungan’s Play Geyikler Lanetler

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Commemorative Hospitality in Documentary Theatre:  Revisiting the Collective Memory in Genco Erkal’s Sivas 93

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Speaking of Beki Luiza Bahar: A Jewish Woman  Playwright in Turkey & Negotiating an Ambiguous Identity  in the Public Sphere

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Journal of Theatre Criticism and Dramaturgy - Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is a peer-reviewed, open-access, scientific journal published biannually in June and December. It is devoted to study of theatre and performance.

The Journal features social and historical studies, theoretical inquiries that analyze dramatic texts and production. The languages of publication are English, German and Turkish.

The journal targets national and international audiences, has both national and international members in the editorial board, and aims to enhance international author contributions. 

As of 2023, the print version has been stopped. The journal has become an online-only publication
The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.
There are no article processing charges or submission fees for any submitted or accepted articles. All expenses of the journal are covered by the Istanbul University.

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Journal of Theatre Criticism and Dramaturgy

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Journal of Theatre Criticism and Dramaturgy - Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is a peer-reviewed, open-access, scientific journal published biannually in June and December. It is devoted to study of theatre and performance. The Journal features social and historical studies, theoretical inquiries that analyze dramatic texts and production. The languages of publication are English, German and Turkish.The journal targets national and international audiences, has both national and international members in the editorial board, and aims to enhance international author contributions. The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Aim and Scope

MLA International BibliographyTÜBİTAK-ULAKBİM TR Dizin<div>DOAJ - Directory of Open Access Journals</div><div> EBSCO Central &amp; Eastern European Academic Source</div><div> EBSCO International Bibliography of Theatre &amp; Dance with Full Text</div><div>  SOBİAD </div>

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%. Double Blind Peer-Review After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

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The journal is an open access journal and all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the <a href="https://www.budapestopenaccessinitiative.org/read" target="_blank">BOAI</a> definition of open access.The open access articles in the journal are licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">CC BY-NC 4.0</a>) license.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a> ) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

Journal of Theatre Criticism and Dramaturgy - Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>All submissions must be original, unpublished (including full text in conference proceedings), and not under the review of any other publication synchronously. Authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unnethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. In accordance with the code of conduct the editor will report any cases of suspected plagiarism or duplicate publishing.

Ethics

Journal of Theatre Criticism and Dramaturgy adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules. <ul><li>Principles of integrity, quality and ransparency should be sustained in designing the research, reviewing the design and conducting the research.</li><li>The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.</li><li>The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.</li><li>Research participants should participate in the research voluntarily, not under any coercion.</li><li>Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.</li><li>The independence of research must be clear; and any conflict of interest or must be disclosed.</li><li>In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.</li><li>If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.</li><li>In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.</li></ul>

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. Authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research are not sufficient for being accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/972DDADE519941F8AE05643A14FC7CA8" target="_blank">Copyright Agreement Form</a> The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment. When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor-in-Chief to provide retractions or corrections of mistakes.

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The editor hands over the papers matching the formal rules to at least two national/international referees for double-blind peer review evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Peer Review

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.  Editor-in-chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international external referees for evaluation and publication decision is given by editor-in-chief  upon modification by the authors in accordance with the referees’ claims.Editor in chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.-    Does the manuscript contain new and significant information?-    Does the abstract clearly and accurately describe the content of the manuscript?-    Is the problem significant and concisely stated?-    Are the methods described comprehensively?-    Are the interpretations and consclusions justified by the results?-    Is adequate references made to other Works in the field?-    Is the language acceptable?Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

1. All correspondence will be sent to the first-named author unless otherwise specified.2. Manuscpript is to be submitted online via <a href="https://dergipark.org.tr/tr/pub/teddergi" target="_blank">https://dergipark.org.tr/tr/pub/teddergi</a>3. The submmitted manuscript must be accompanied by a <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/A7ACEF8057C74B6792D2BF4BBF4D473A" target="_blank">title page</a> including detailed information about the article and a cover letter (optional). Manuscripts should be prepared in Microsoft Word 2003 and upper versions. In addition, <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/972DDADE519941F8AE05643A14FC7CA8" target="_blank">Copyright Agreement Form</a> that has to be signed by all authors must be submitted. (see the Submission Checklist).4. The abstracts (in the language of article and in English) must be of 100-150 words each.5. Five keywords (5 in the language of article and 5 in English) must be given underneath the abstracts.6. Extended abstract of 600-700 words is required for the manuscripts in Turkish and German.7. Quotations in the manuscript must be italicised and the citations in text must be indicated as footnote in 10 points.8. The text of the main document must be in Times New Roman font and in 12 points.9. Line spacing in the manuscript must be 1.5.10. The paragraphs must be indented 1.5.11. The title must be written with capital letters (14 points, bold).12. A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/A7ACEF8057C74B6792D2BF4BBF4D473A" target="_blank">title page</a> including author information must be submitted together with the manuscript. The title page is to include fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address, phone, fax number of the author(s) and ORCIDs of all authors (see The Submission Checklist).

Author Guidelines

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/972DDADE519941F8AE05643A14FC7CA8" target="_blank">Copyright Agreement Form</a> (will only be sent after the article has been accepted for publication)<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/37188B7184234A8394649B837292E23A" target="_blank">Title page</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/6C44A180DF8748A8B4A5F98773224445" target="_blank">Author Form</a>

Ensure that the following items are present:<ul type="disc"> <li>Confirm that the category of the manuscript is indicated.</li> <li>Confirm that “the paper is not under consideration for publication in another journal”.</li> <li>Confirm that final language control is done.</li> <li>Confirm that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirm that the references cited in the text and listed in the references section are in line with journals’s reference system based on Chicago Manual of Style.</li> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/972DDADE519941F8AE05643A14FC7CA8" target="_blank">Copyright Agreement Form</a> (will only be sent after the article has been accepted for publication)Permission for non-published material<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/15312F3FEE1B46B2A6068815EBE2784F" target="_blank">Title page</a><ul type="disc"> <li>The category of the manuscript</li> <li>The title of the manuscript both in the language of the manuscript and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address, telephone and fax number</li> <li>ORCIDs of all authors.</li> <li>Acknowledgements, grant supports, conflicts of interest should be indicated</li> </ul>Main Manuscript Document<ul type="disc"> <li>Important: Please avoid mentioning the the author (s) names in the manuscript.</li> <li>The title of the manuscript both in the language of the manuscript and in English</li> <li>Abstracts (100-150 words) both in the language of manuscript and in English</li> <li>Key words: 5 words both in the language of manuscript and in English</li> <li>Extended abstract (600-700 words) in English (for articles in German and Turkish)</li> <li>Manuscript body text</li> <li>References</li> <li>All tables, illustrations (figures) (including title)</li> </ul>

E-mail : <a href="mailto:dramaturji@istanbul.edu.tr" target="_blank">jtcd@istanbul.edu.tr</a> Phone : +90 (212) 455 57 00Address : Istanbul University, Faculty of Letters, Department of Theatre Criticism and Dramaturgy, Balabanağa Mah. Ordu Cad. No: 6, 34134 Laleli, Fatih, Istanbul, Turkey

Issue Type	Regular
Editor(s)	Nilgün Firidinoğlu
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Journal of Theatre Criticism and Dramaturgy

ISSUE 32, 2021

Ethical and Political Implications of “Performance” in a Rural Cultural Practice: Afro-Colombian Women Singers from the Town of Pogue

The Ottoman Turk in Maltese Theatre and Drama: A Discussion of the Role of Stereotypes in the Theatre of a Small Nation

Joan Littlewood’s Post-Theatrical Engagements Beyond Theatre Workshop: A Comparison of the Original Fun Palace Project With the 2014 – 2015 Revivals

Sevim Burak’s Protest Theatre: Understanding Sevim Burak Through Adorno

Aesthetics in Theatre: The Challenge of Effect Under the Skin

Exiled Scapegoat Returns to the Stage: Io

Dog’s Day: Natural Folly and Subversion in Much Ado About Nothing

Sevgi Ayakları: A Reading of the 1980 Coup through “Docile Subjects”

Reflections of Embodiment and Enaction Theories on Contemporary Theater Practices: Somatic Approach in Acting Training

Neutral Mask, Neutrality, Comedy

Türkiye’de Oyun Yazarlığında Yeni Eğilimler IV

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