Priyanka

Undoing Gender: Contemporary Women Theatre Makers  in India

Merve

Res. Assist.

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

Emre

Assist. Prof.

Could it be possible for acting training to benefit from online class content aside from extraordinary conditions such as those experienced in the recent pandemic? There is a fundamental and rigid perception about acting training and, by predicating on theatre’s ontological foundation, this perception shows the attitude of rejecting online technologies at first value regarding them as functionless or even degenerative. Considering that departments providing training for acting are mostly those of performing arts and theatre, this is an understandable situation to some extent. Theatre is a performing art. It possesses a realm of existence that is living, occurring in the here and now, and is based on the physical togetherness of the performers and the spectator. As Peggy Phelan emphasizes in her observations about performance, when being copied and reproduced or transformed to digital content, its “ontological engagement decreases” and it turns into something else. Acting training has a performative aspect. The “feedback” cycle that Erika Fischer-Lichte identifies in performance, comes to light in acting training, too. In acting classes, the roles of the students and instructors perpetually interchange. Together they compose an ensemble and, in just the same way as that which occurs in theatrical performances, this ensemble experiences different manners of physical encounter. The relationship between distance and closeness, the societal and the personal, a glance and a touch…&nbsp;In the manner that Phelan and Lichte’s notions support it, can the idea be argued that online education cannot be engaged for acting training regarding these ontological foundations of theatre? Or do the ontological foundations of theatre only consist of its performance? Moreover, does the fact that acting is embedded traditionally in theatre departments require us to consider theatre and acting training as being identical and interdependent to this degree? How much longer can we seek shelter in the stereotyped notions by sticking to traditional theatrical education that rejects the possibilities that online education offers, while it is obvious that today acting graduates practice their profession more in the cinema, TV, and on digital or social media platforms than on stage arts and that they require educational content for these areas?Departing from these questions, this study aims to draw up scientific data, arguments, and points of discussion that will provide us with away to revise our mainstream ideas about the application of online educational content for acting training. Accordingly, it suggests considering the mimetic aspect of theatre as well against the stereotyped notion that rejects online education at first hand by predicating on its performative bases. Primarily, it discusses the mimetic learning processes that function with compositions such as mimicking, representation, reflection, establishing empathy, and identification, which Plato and Aristotle discussed around 2400 years ago. Thereafter, it interrogates why we do not consider online education by basing on mimesis, which is another foundation of theatre, but missed online education by taking only its performative aspect into account, while our biological device permits it in the manner the discovery of mirror neurons support it. Afterwards, autodidactic processes are discussed in detail, which have a significant role in acting training as in every educational field, and opportunities presented in this direction by online education are pointed out. In this regard, there is a focus on what kind of alternatives online education offers against traditional education, which cannot work beyond the physical togetherness of the student and instructor, all subject to the educational processes of the hegemonic relationship determined by the instructor and prepares the students only for stage acting after graduation. As for the last chapter, the content and practices of online acting training created in various platforms, establishments or programs are discussed. A considerable amount, quality, and variety of online practices carried out, constitute data and experiences that enable it to approach the subject with further thought.&nbsp;

An Evaluation of the Use of Online Technologies in Acting Courses  after the Pandemic

Işıl

“Everywhere is Warmer than the house”:  ‘Traumaculture’ in Laura Wade’s Colder Than Here

Verda

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

Gamze

From the 1990s, communication instruments have become widespread, and technological equipment has become more accessible to the public. In that situation, the theater has become more mediatized. Nowadays, the technology is developing with unavertable acceleration. Because the COVID-19 pandemic has affected the world for more than two years now, the theater has lost its ability to bring the audience and the actor together in a social environment. Although the future of theater becomes more debatable in this situation, many theorists have started questioning digitalization and live performance once again. Despite the difficulties of this period, Complicité’s production The Encounter, which will be discussed in this article, was watched by many people from many parts of the world via Complicité’s Internet broadcasting.The Encounter is a performance in which technology has almost become the actor’s partner on stage. In that context, this study tries to examine the concept of mediatizing, which has been discussed by many theorists, in today’s conditions. This article discusses in four chapters the relationship between the performance and technology, sound, photography, and recorded media. Recorded media have become more important in theater practice during the pandemic. With this new experience provided by Internet broadcasts, the audience can see actors more closely and from different angles right from their homes, although they lack the company of other audience members. On the other hand, it is to be discussed whether this hybrid form, which offers a different theater experience for the audience, is closer to the practices of theater or cinema. In recordings, the presence of an actor on stage turns into a visual image. In this case, the audience watches a theatrical performance as a movie or a television show through which it acquires a different viewing practice in new conditions. By presenting a recording, Complicité challenges those practices and tries to involve the audience in the play. In that way, it tries to discuss the topics of the play in the context of current conditions.&nbsp;Simon McBurney directed, and performed The Encounter, which UK-based Complicité debuted in 2015. He worked for more than ten years on the staging of the play, which was originally an adaptation of Petru Popescu’s novel Amazon Beaming. The novel tells the story of National Geographic photographer Loren McIntyre’s search in 1969 for the seminomadic community called Mayoruna, also known as the cat people, living in the remotest corners of the Amazons and thought to have been extinct at that time. This study uses Amazon Beaming as a source but is based on the text of The Encounter in particular. In addition to those sources, it uses the rehearsal notes to analyze the elements observed in the staging.&nbsp;When McBurney was considering how to bring Amazon Beaming to the stage, he decided that he needed to convey the Amazon rain forest, one of the world’s most biodiverse regions, with a design that would appeal to the senses of the audience. For that reason, sound design has a very important role in the play. This design, in which the audience watches and listens&nbsp;to the entire play through earphones, enables the audience to approach the narrative with a sensory experience rather than creating an illusion for them. In the play, the Amazons and the Mayoruna tribe are not conveyed to the audience visually. The actor is accompanied by sound and light design. When telling the story of photographer Loren McIntyre, McBurney says the photography is flat, and a photograph is a memory from the past. McBurney underlines that he wants to invite the audience to the present. This study analyzes the performance, based on the approach of Complicité to the novel and to the Amazons.

Theater in Terms of Photography, Sound and Recording: “The  Encounter” from Amazon’s to Television Screen

Nilgün

Assoc. Prof.

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

Nilay

Assist. Prof. Dr.

Susan Sontag was always fascinated by the life of Alice James. One of their common points is that both women were diagnosed with breast cancer in their middle years. While James succumbed to the disease within a few years of being diagnosed, Sontag survived it. In her essay \textit{Illness as Metaphor}, Sontag (1978) referenced Alice James as she discussed the societal dimensions of cancer. In this context, the play \textit{Alice in Bed} (Sontag, 1991) crucially focuses on James becoming completely bedridden, honing in on the final period before her death. Drawing from the illness diagnoses imposed on women in the 19\textsuperscript{th} century, Sontag similarly desired to grapple with the gap between a woman’s body and mind, particularly in terms of their mental confinements.As evident from the preface Sontag wrote for the play, she perceived Alice James as a figure whose talents and capacities had been battered by societal gender norms, rendering her both physically and metaphorically an invalid. Sontag went as far as to liken her to the famous metaphorical figure Judith in Virginia Woolf’s (1929) work, \textit{A Room of One's Own}, who might have surpassed even Shakespeare’s achievements had she been given the chance to publish. Sontag is able to substantiate this idea through her utilization of Alice James’ posthumous journals. Alice keeps repeatedly quoting herself in the play. Indeed, one can observe in James’ diary entries a pervasive contemplation on the roles she could have assumed in society and the possibilities for greater freedom of movement had she not been plagued by illness like her brothers. Alice’s ability to express herself in her journals is noteworthy and showcases her enduring curiosity about social inequalities and the innovations of modern life. The intellectual debates she engages in with her brothers are indicative of her sharp intellect and ingenious mind. She harbored conflicting thoughts about having a free mind, at one point questioning a nurse about whether her mind would be as liberated if she had received an education.Alice James was deeply interested in literature and fictional works. In the creative process of Henry James’ writings in particular, she fearlessly presented her ideas to him. During the periods when she was bedridden in the advanced stages of her illness in London, instances occurred of them exchanging ideas about a theater play her brother had been working on at the time. Quoting Anatole France, she emphasized her respect for the abilities of her imagination to create both comedy and tragedy. At the points where she accepted her fate, she articulated the conclusion of her life as the metaphorical closing of the curtain. Susan Sontag’s desire to approach Alice in the drama genre is thus able to gain significance in this way. With its potential to stage the dialectical relationship between body and word, the theater had always been a primary concern of Sontag’s, and her theatrical representation of Alice James’ sickened body invites the audience to identify with her as a Victorian career invalid, as well as to imagine a state of freedom beyond the patriarchal disciplines that were imposed on women’s bodies back then.Susan Sontag stated regarding this play that she aimed to emphasize the power and limits of the female mind, believing in the mind as the safest place to venture. For this reason, the sixth scene she wrote is notably a purely imaginary journey taking place in Alice’s mind. The discourse created when describing the destination in any travel literature is always one of the main subjects requiring examination. Despite having completed a significant part of the Grand Tour on the old continent, Alice, who had never seen Rome in her life, created a narrative with her imaginary journey that also requires close reading. Indeed, this imaginary travel provides a means to experience different ways of life, as well as the repressed or unrealized sides of her identity: mobility and freedom on one hand and duality and self-division on the other. As Sontag suggested at the end of the play, nothing is vast. There is no greatness in the mind; everything fits into it, and nothing fits. In the face of the prison of the mind, infinity stretches out. Even in the realm of the mind, a call arises for a woman to traverse the streets, demanding an autonomous space in society.This analysis not only reconsiders Susan Sontag’s dramatic strategies but also evaluates the historical figure of Alice James within the context of gender conflicts. Given the insufficient exploration of Sontag’s relationship with theater and her own theatrical works, this study aims to provide a critical approach to a narrative deserving integration into the tradition of imaginary journey narratives.

I Close My Eyes, and I Travel: Imaginary Travel in Susan Sontag’s Play Alice in Bed

Aslı

Colonial and postcolonial encounters have paradoxically been effective at enriching the genre of drama and the art of theatre due to the cultural interactions between European and non-European societies. Playwrights from non-European countries such as Wole Soyinka, Derek Walcott, Athol Fugard, and Ama Ata Aidoo have gained recognition in the international arena in this context, especially since the second half of the twentieth century, while Western theatre has also progressed with cultural material drawn from non-Western cultures. Meanwhile, by writing from the margins, postcolonial playwrights have exposed the problematic processes and consequences of the colonial past and have developed liberating ideas in their works opposing the colonialist discourses. Within this context, one of the issues that colonial and postcolonial studies discuss is the sociopsychological effects of colonial oppression.Nigerian playwright and activist, Wole Soyinka, holds an outstanding position in postcolonial drama with his unique style of combining European and non-European cultural and theatrical elements to reflect his thought-provoking ideas on colonialism and postcolonialism. In this respect, this study focuses on how double consciousness manifests itself in various ways under colonial and postcolonial circumstances as reflected in Soyinka’s selected plays. This study briefly explains the concept of double consciousness as defined by W.E.B. Du Bois in The Souls of Black Folk (1903) in the early twentieth century and its more contemporary reflections in the postcolonial theories of Homi K. Bhabha and Stuart Hall in particular, exemplifying these through Soyinka’s selected plays of Death and the King’s Horseman (1975), The Lion and the Jewel (1963), and The Invention (1959).This study claims and demonstrates that, although Du Bois’s conceptualization of double consciousness seems outdated in the contemporary discourses of postcolonial theory, it is adaptive and can be explored more contemporarily and comprehensively. Soyinka’s plays that were particularly selected for this study allow for the opportunity to explore the conceptualization of double consciousness both from a Du Boisian perspective as well as from contemporary extensions of Du Bois’s ideas. Owing much to the postcolonial theories of Bhabha in The Location of Culture (1994) and Hall in “Cultural Identity and Diaspora” (1990) and “Race, The Floating Signifier” (1996), the theoretical perspective suggested in this study brings a new and expanded meaning to the conceptualization of double consciousness as exemplified through Soyinka’s plays, which reveal a variety of double consciousness experiences characterized by reciprocal interactions between the colonizer and the colonized.Death and the King’s Horseman is an Aristotelian Yoruba tragedy that presents different manifestations of the double consciousness characters experience based on their cultural positionalities. The Lion and the Jewel is a romantic comedy that shows the double consciousnesses of characters who are situated ambivalently within both colonial and traditional (especially Yoruba) power structures. The Invention is a dark, dystopic satire on the Apartheid in South Africa, unlike the other two plays. Problematizing the relation between racism and double consciousness, this early play by Soyinka enforces the idea that Soyinka has been exploring the issue of double consciousness and its extensions since the beginning of his career and that double consciousness as a comprehensive and updated term is essential to understanding Soyinka’s drama from the very beginning.This study concludes that double consciousness as a sociopsychological state experienced not only by African Americans but also by colonized people in general manifests in a variety of ways in colonial and postcolonial contexts. This study has addressed the concept of double consciousness in a broader context than Du Bois’s original use, with respect to some contemporary theoretical concepts by Hall and Bhabha. As a result, this new and expanded interpretation of double consciousness suggested in this study provides a new methodology for exploring other works by postcolonial playwrights, one which can contribute significantly to current studies in postcolonial drama.

A New Interpretation of Double Consciousness: The Case of Wole Soyinka

Ezgi

Özkul

Prof. Dr.

Traces of Kyrgyz epic sagas are prominently evident in Kyrgyz theatre. Kyrgyz epic sagas boast rich narrative subject matter, involving a diverse range of oral folk literature products such as tales, laments, riddles, rituals, rites of passage, birth, weddings, death, stories, and epic saga narratives. This rich reservoir of content serves as the bedrock of Kyrgyz theatre artistry. While the Manas Trilogy, comprising Manas, Semetey, and Seytek, remains a cornerstone of Kyrgyz epic tradition, its influence on the theatre extends beyond, encompassing small-scale epics that find their place on stage. Among these is the epic of Janyl Mırza, which features a female protagonist and is classified within the scope of heroic epics. In this study, we discussed the “Janyl Mırza” epic, a small-scale, yet heroic and historical saga of the Kyrgyz people. The Janyl Mirza epic dates back to a period when the Kirghiz were subject to Kalmak rule during the 17th and 18th centuries. Janyl Mırza has four variants. In our study, we conducted research on Kyrgyz’s repertoire theatres. Among the plays written about the Cañıl Mırza epic, we chose the puppet theatre text written by Calil Sadıkov. The text was written for a puppet theatre. It was also staged as theatre other than puppet. The play was written between 1978–1979. The name of the play is “Janyl Mırza.” At the beginning of the play’s text, a description states, "an epic drama written for puppet theatre." At the beginning of the play, the author states the type of play he wrote as "Epic Drama." This extends beyond Bertolt Brecht’s understanding of epic theatre to the epic tradition and the theatre texts written based on this tradition. Thus, we examined the subject of the Janyl Mırza text, the number of acts, characters and their functions, and their similarities and differences with the epic text. In addition, we discussed the staging processes of the puppet theatre and the cultural elements revealed in the decor and costume design. Our research reveals that out of the nine main scenes of the puppet text, one introductory scene wherein Race Girl plays the komuz stands out. The play features ten main characters and a Komuzcu character named “Irchı Kız,” who sings and provides game-related information. Incorporating songs and poems, traditional musical instruments such as the “komuz” are employed throughout the performance. Notably, the puppet plays have been staged at festivals in different languages. Our research revealed that Janyl Mirza’s puppet theatre productions have been staged internationally in different languages, including regional theatres in conventional theatrical format, beyond puppetry. These enactments serve as practical tools for disseminating Kyrgyz culture and enhancing theatrical arts. The author stated that “Irchı Kız” wore traditional Kyrgyz women’s attire, while other characters used traditional Kyrgyz clothing, “Ak Kalpak,” “Tebetey,” “Eleçek,” and “Köynök,” garments. Cañıl has a sword and a shield in his hand and a warrior’s helmet on his head. The author took some episodes from the epic but did not use the exact words of the epic. The author also referred to Kyz Saykal, another Kyrgyz epic, within the text of the puppet play. Despite Janyl Mırza categorizing the text as an “epic drama,” it diverges from Brecht-style epic theatre. Instead, it represents a puppet text derived from an epic narrative-based oral folk literature product. This work includes elements of the epic, poems, and song narration. Conversely, these epic saga-based narratives and reenactments are unique creations. Thus, the stage presentations of Kyrgyz epic sagas epitomized a genre specific to Kyrgyz performance arts, termed “Kyrgyz Epic Saga Theatre.” In conclusion, when considering works stemming from Kyrgyz epic sagas, they are rightly characterized as Kyrgyz Epic Saga Theatre. "Janyl Mırza" also stands as an example of this tradition.

Reflection on Kyrgyz Epic Saga Tradition in Puppet Theatre: A Study of “The Epic of Janyl Mırza”

Arda

The Revival of the Byronic Hero in John Osborne’s Look Back in Anger

Seçil

In this study, the concept of essence, shaped around the concepts of singularity and community by focussing on Jean-Luc Nancy’s The Inoperative Community, Maurice Blanchot’s The Unavowable Community, and Giorgio Agamben’s The Coming Community, and parallel to this, will be investigated what acting, which involves the act of creating another world, another time, another atmosphere, and another person by relating to that which is other than oneself in the construction of the role person, means and corresponds to in such an understanding of the self. All three aforementioned—Nancy, Blanchot, and Agamben—rejected the idea of an “absolute human” while proposing an alternative understanding wherein the notions of “individual” and “society” are superseded by the notions of “singularity” and “community” respectively.Through the notion of Clinamen, Nancy criticises the individual as a whole, unchangeable, and fixed, and instead proposes the concept of singularity, which has the potential for change and transformation. Blanchot claims that the idea of equalising people, which emerged with communism, corresponds to “making humans immanent to humans”. This understanding, which subordinates one person to another, is a totalitarian mentality that ignores differences and makes them the same. According to Blanchot, “A being does not want to be recognised, it wants to be contested: in order to exist it goes towards the others (...)” Agamben cautions against seeking the criterion of difference in an “essence.” Just as singularities cannot be ordered according to their possession of a particular essence, they also cannot be sublated and homogenised according to other measures of discernment. All three of these scholars point to the concept of ecstasy, which means the state of being outside the limits or outside the limits of oneself. Singularities can be opened to the community through ecstasy. Arıcı imagines that the first actor of ancient Greece must have assumed the mask of a God, Dionysus, and must have manifested him: “Similar to the way that being becomes ex-ternal to itself, the actor, through an ecstatic act manifests the God in and through the mask.”Many actors, directors, dramaturgs, and theatrical thinkers have proposed an “imagination of non-qualification” sought in the body, mind, and action as a path opening to the fictional world, into a creative space for the actor who settles in another voice, another body, constructs another space, another history. What does “featurelessness” mean for an actor? In this sense, the actor is the one who encounters and transforms themselves while transforming other(s). The actor is a traveller who is engaged in a process of creation in the real, present time with other creators. They are constructors of fiction, far from any generalisations. I intend to interlace a specific reading of essence that is formed around the notions of singularity and community with a reading of essence that mainly relates to the acting endeavour. Instead of an outlook where the act of possessing an essence is inverse and even incompatible with the idea of community, where individuality is closely linked with the possession of essence and where the arrangement of individuals leads to totalitarian outcomes and community structures, I will examine the viability of an outlook that centres around the ideas of non-belonging, dispossession, and non-qualification. My discussion around these subjectsdemonstrates that actors who can collaboratively create a fictional world and singularities can be discussed on common theoretical grounds as a “cooperative” and “synergetic” couple.

Issue of Essence in Acting on The Axis of Singularity and Community

Duygu

Assoc. Prof. Dr.

A Book on the Relationship between Fiction and Reality: Anne Ben Düştüm mü? Kurmacalara Neden Muhtacız?

Gonca

The Dramatic Sound of the Digital World: A Review on Duyulan Tiyatro: Radyo Oyunu Yazım Tekniği

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Magda

Body as a Machine: Meyerhold Between Politics and Theory

@JOURNAL_BOX_FEATURED

Paola

Prof.

Gaston

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

@JOURNAL_BOX_MOSTREAD

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.

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Scopus 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.

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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
Cover (PDF)
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Front Pages (PDF)

Journal of Theatre Criticism and Dramaturgy

ISSUE 33, 2021

Undoing Gender: Contemporary Women Theatre Makers in India

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

An Evaluation of the Use of Online Technologies in Acting Courses after the Pandemic

“Everywhere is Warmer than the house”: ‘Traumaculture’ in Laura Wade’s Colder Than Here

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

Theater in Terms of Photography, Sound and Recording: “The Encounter” from Amazon’s to Television Screen

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