Andreas

Prof.

Contemporary German-language theater is characterized by many aesthetic and dramaturgical forms, for example, creative director’s theater, radical director’s theater, virtuoso actor’s theater, and author-focused productions. Pop aesthetics, post-humanist theater, narrative theater and the “authenticity” of the documentary, a theater of experience, and stylistic elements of new bourgeoisie, post-dramatic theater, performance (art) and installations, video games, overwriting, and poor theater in empty space, are all available on the stages. The vast majority of them are directors’ theaters, which can be traced back to Brecht’s aesthetics, theory and theatrical work. For many years, Brecht’s influence was hardly noticed, but that has changed since the millennium’s turn, with 9/11, the financial crisis, and the threat of climate change. In the theater, irony and general relativization have given way to a new seriousness, as opposed to the situation in the 1990s. Postmodernism appears to be largely pragmatic in its process of historicization, whereas its achievements, such as the deconstruction of stereotypes and the withdrawal of expectations of normalcy, have fortunately become somewhat commonplace. Older and younger representatives of current directorial theater such as Pinar Karabulut, Claudia Bauer, Toshiki Okada, Jan-Christoph Gockel, Anne Lenk, Nicolas Stemann, Yael Ronen, Dusan David Parizek, Leonie Böhm, Karin Henkel, Karin Beier, Helgard Haug, Michael Thalheimer, Sebastian Nübling, and Christopher Rüping all work with and in the Brecht tradition. As is well known, the viewer should not empathize with Brecht, but rather take a detached, reflective stance. Brecht felt that the actors had more to tell about their roles than to play them in illusionistic manner, so that the character in the role did not invite too much empathy. This had an impact on the director’s work. The approach should be inductive rather than deductive. Thus, in the production process, especially in rehearsals, the astonished attitude of the actors must be organized, and the productivity of everyone involved must be aroused. Under no circumstances should the director arrive at the theater with an idea, a plan, or a vision. The rehearsal should be used to experiment; it should always open up new perspectives and allow you to try out innovative ways of playing. This must lead to a dialectical enrichment of the staging in the performance, which today is the basis of the works of Frank Castorf, Christoph Marthaler, or Leonie Böhm, kept postmodern openly in deconstruction or in the post-dramatic theater of René Pollesch, Claudia Bauer, and Alexander Giesche. For Brecht, the director had to create crises to discover&nbsp;what was not a solution. The audience should see and feel the performance’s crises, resistance, mistakes, corrections, and objections. This manifestation of resistance is effectively rooted in the aesthetics and dramaturgy of contemporary German-speaking theater. Today, opposing aesthetics, such as dramatic-social realism and post-dramatic theater see themselves as heirs to Brecht. As Pollesch observes, Thomas Ostermeier and Oliver Reese appear to lean more toward Brecht’s “Schaustücke,” whereas Pollesch leans more toward Brecht’s “Lehrstücke.” When viewed in this way, Brecht’s gesture precipitated two contradictory developments in contemporary theater: On the one hand, Brecht defines gesture as a post-dramatic, performative theater of effectiveness that breaks up the dialectic and makes it impossible to assign meaning and thus shape to the other. On the other hand, a new social realism attempts to recognize the typical, social, economic, and political structures dispassionately and convey them in a slightly alienated manner. A peculiar dialectic difference exists between role and actor in the tradition of epic theater, which is more the norm in German-speaking advanced theater, even if it is aesthetically different in each case. Recently, younger theater-makers have been increasingly rediscovering the revolutionary Brecht, for example, in the fight against inequality, as in Nora Abdel-Maksoud’s productions, or in the theater’s commitment to combating climate change, as in the Theater of the Anthropocene.&nbsp;

Political Theater or Making Theater Political? Brecht’s Influence  on Contemporary German-Language Theatre

Özlem

Assist. Prof.

Rewriting Women and Trauma: Zinnie Harris’s  This Restless House

Tuğba

Living in the Past, Living with the Ghosts: Trauma and  Postmemory in Jonathan Lichtenstein’s Memory

Azime

Plague: A Tragic Way to Empower the Artistic Imagination  and to Deliver Hope

Dila

Res. Assist.

Kanto is a stage performance that became significantly popular in 19th-century Istanbul. Kanto can be defined as an actress singing and dancing on stage. At the end of the 1800s, kanto was performed in tulûat [improvisational] theaters and music halls in Istanbul’s Galata, Direklerarası, and Kadıköy districts. At the end of the 19th century, kanto singers mostly involved actresses dancing and singing on stage accompanied by music composed of Western instruments and traditional maqams.Tulûat theater is a specific form of theater based on improvisation with no written theatrical text. The origin of this form is related to the privilege given to Güllü Agop, which stated that performing Western-style, Turkish text-based theatre would not be allowed to any but Güllü Agop’s company. The rest of the theater people began to look for alternative ways to do theater and make money. That privilege included neither improvisational theater nor musical theater, so tulûat was developed based on traditional improvisation in the performing arts. The main concern in this type of theater is to attract spectators’ attention to the performance, so the theater players had a series of strategies, with one of these being the inclusion of kanto performances in the show. One of the fundamental functions of these performances is to attract spectator intention. In that sense, having women perform the kanto increased the tulûat’s attractiveness.The kanto performances achieved their goal: The public liked these performances so much, and big fan groups gathered around the kanto singers. However, some groups labeled kanto as a light form of performance and accused the female artists of being meretricious for standing on stage and behaving flirtatiously with obscene stage costumes. This approach is related to the opinion that describes tulûat theater as lacking seriousness and devoid of art. Once women had gotten on stage in inappropriate costumes, critics inevitably became violent toward them. Women who appeared in the public sphere with clothes they would not have been allowed to wear in daily life, despite not committing any illegal crime, had passed beyond the commonly accepted social rules and boundaries and as such became a threat to social order. The violence the artists faced was not limited to verbal critics. They were also frequently exposed to male violence. Cases occurred very often such as fans invading backstage and physically attacking one another or the kantocus (kanto artists).In addition to being accused of inappropriateness and meretriciousness, kanto performances were also described as banal because singers developed a wishy-washy image onstage and did not sing known songs. In terms of vocals, the melody of the singer’s voice and the melody of the instrument were not always in harmony, and the singers, being non-Muslim, were unable to pronounce the words in the “proper” dialect. However, the performances were consistent within themself, with the inconsistency of the performance being part of the rules that create the original characteristic of kanto performance. Kanto songs tells a story, with stage props such as sounds, instruments, movement, and costumes being unusually brought together to construct an atmosphere typical of the representative/expressive level. In that sense, one must consider consistency within kanto itself and follow the action executed on the stage in order to understand the fundamentals of kanto as a performing art.This study analyzes women’s kanto performances between 1880-1920 in tulûat theater in terms of the performance tools and social-cultural context surrounding the artists. The study will discuss the biographies and works of leading names in kanto such as Peruz Terzekyan, Şamram Kelleciyan, Küçük Virjin, and Amelya in terms of the commonly encountered aspects and will reveal the effects the artists’ female identities had on kanto’s performance and reception.&nbsp;

Kantocu Women in Tulûat Theater in Istanbul between 1880-1920

Nilgün

Assoc. Prof.

THE DECISIONS REGARDING THE JOURNAL'S PUBLISHING POLICY

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

Fatima

Assoc. Prof. Dr.

Theater in Iranian Society

Rahmat

Zahra

Pardeh Khani as Performance: An Approach Based on Erika Fischer-Lichte’s Theories

Farhad

Chahar Sandough by Bahram Beyzai and Al-Malek Hova Al-Malek by Saadallah Wannous: A Comparative Study on the Function of the Protagonist’s Character

Alireza

Iran’s Shahriaran Rastakhize Opera: An Anthropological Interpretation

Saghar

Behrooz

A Narratology of Early Operas in Iran and Türkiye: The Case Study of ‘Eshqi’s The Resurrection of Iranian Kings and Edib-Adıvar’s The Shepherds of Kenan

Mehdi

Behzad

Advising Without the Element of Advice: Exploring the Application of Educational Theater for Adult Audiences in Iran through Deconstruction

Tannaz

Maryam

Studying the Zar ritual in Hormozgan and Its Correlation with Jacob L. Moreno’s Theories in Psychodrama

Gizem

Theatricality is a concept that is used to describe multiple artistic, dramaturgic, and notional ideas as both a metaphor and a phenomenon. It thus enjoys a wide range of references and approaches. The polysemy of theatricality is related not only to the thousands of years of history of the art of theater but also to the social, societal, or intellectual developments that have influenced theater. One relatively recent development are the reproduction technologies that have increasingly influenced human life since the beginning of the 20th century. The opportunity to technically reproduce theatrical performances in media, such as film and television, has triggered a transformation at both the artistic and aesthetic levels of theatrical performance, as well as in wider understandings of theatricality. Therefore, this study’s analysis of theatricality as a concept is conducted through the mediatized forms of theatrical performance. Accordingly, the article first discusses the multiple semantic meanings of the term throughout theatrical history. These semantic meanings are then investigated through the mediatization process that has been caused by the emergence of reproduction technology.Theatricality, much like the term mimesis, contains duality in its meaning. This duality derives from the perceived ‘liveness’ of imitation in theater and the semantics attributed to live communication. Plato and Aristotle’s opposing views on the act of imitation led to the constitution of opposing approaches to theatricality, substantially linking the suspicion toward imitative arts with the term theatricality. In the recent development of modernist anti-theatrical thought, this suspicion again became emphasized, this time as the essential way of saving theater from illusionism. Thus, theatricality converted became a term explained through anti-theatrical tendencies. While anti-theatrical thought claims to promote reality over illusionism, the concept of theatricality is assigned to the idea of ‘fake acting,’ which is considered a ‘false’ way of expression.The dominance of anti-theatrical thought in both theater and definitions of theatricality began to lose its influence only after Meyerhold’s discourse of ‘theatricalizing theater’. In step with the Avant-garde movement’s claims of eliminating the text in naturalist drama to emphasize sound, rhythm, movement, or stage design, the term theatricality received an updated meaning in relation to these tools. Meanwhile, within the field of performance, which has distinguished itself as a unique art form since the 1970s, rituals and daily-life practices have been added to the semantics of theatricality alongside the meanings discussed above. As a result, theatricality has earned its polysemy by containing all these references in its meaning.The opportunity presented by reproduction technology with the invention of the camera and the mediatization process that developed accordingly has brought increased diversity both in theatrical performance and in understandings of theatricality. This has created a debate of aesthetics between theater and cinema and given rise to theatrical variations in which both forms of representation are influenced by each other. The term theatricality has thus become a means to point out the oppositions of these two art forms.&nbsp;Television began to stand out as a medium that made the reception of ‘live’ action possible on a screen. However, the widespread existence of television in human life has changed audience perceptions and challenged the correlation between illusion and reality. Television content is produced by drawing inspiration from both theater and cinema, but it transfigures them at the same time. Through the perpetual mode of spectacle, which is theatricalized by dramatizing representations, the meaning of theatricality mutates. As a result, theater now offers the ‘here’ and ‘now’ and the ‘liveness’ of performance as distinctive and unique features and tends to conserve its creative space from the surrounding mediatization. Thus, the act of performance and the opportunity of ‘liveness’ are internalized as essential determinants of the art of theater.This article thus argues that mediatization has had a wide impact on both the form of theatrical performance and on contemporary understandings of what theatricality is. The theater has meanwhile reacted to mediatization by examining, rejecting, or challenging it, and all these reactions emerged as new theatrical forms on stage. Therefore, mediatization can be considered a sub-discipline of theatrical research and one of the most important developments to influence the art of theater since the 20th century.

The Mediatization of Theatricality

Büşra

Metatheatre and Love in Sarah Ruhl’s Stage Kiss

Rıza

Öğretim Görevlisi

In Search of a New Theatre in a Dissolving World

@JOURNAL_BOX_CURRENT

Mehmet

Greek tragedy increasingly influenced Turkish theater, particularly after World War II, leading to a surge in productions and adaptations. Among the notable works from this period are Kemal Demirel's Antigone (1966) and Aras Ören's Blind Oedipus (1980). These adaptations of Sophocles’ renowned plays, Antigone and Oedipus Rex, were infused with a strong political stance, reflecting a leftist perspective that challenged the traditional understanding of classical tragedy. Kemal Demirel’s Antigone roughly follows the plot of Sophocles’ Antigone. However, while Demirel remains almost faithful to the main outlines of the original play, he places this flow within a structure that is entirely different and, at times, could be considered grotesque compared to the original text. In Demirel’s version, although Eteocles and Polyneices have agreed to take turns ruling the throne, Eteocles does not allow Polyneices to assume power and instead imprisons his brother. Antigone shares with her sister Ismene the idea of rescuing Polyneices from the dungeon. In contrast, Sophocles’ play of the motivating factor to bury the deceased brother has been changed. Antigone explains to Ismene why it is important to rescue their brother from the dungeon: the people of Thebes, a city of a hundred thousand, are not receiving what they deserve from the cobalt mines and operations that sustain the city's livelihood, while the palace circle exploits the profits from these operations. The people are not even aware of this. The only person who can reverse this cycle is Polyneices. In Aras Ören's Blind Oedipus, a transformation mechanism reminiscent of Kemal Demirel's work is noticeable in many ways. In the play, just like in the reference text, Oedipus first kills Laius, not knowing that he is his father, then kills the Sphinx, becoming the king of Thebes and marrying his mother, Jocasta. While the people of the city live in pain and misery, after years of rule, Oedipus sees himself as responsible for what has happened and punishes himself by blinding his own eyes. However, when we look at the details, we encounter a completely different story. According to this version, the root of the disaster that befalls Oedipus and the city is not a curse, but two merchants! These two bold endeavours were, at least in part, a product of the Brechtian dynamic that dominated Turkish theater between 1960 and 1980. During this time, Bertolt Brecht emerged as the most influential theater practitioner and theorist for the growing theater scene in Turkey, shaping the stage with his ideas. Consequently, Brecht’s interpre tation of the classical tragedy gained unparalleled prominence, as evidenced in the adaptations by Demirel and Ören. Three significant qualities characterise these adaptations. First, in their rewriting, Ören and Demirel engage in a critical dialogue with the concept of tragedy itself, using it as a foundation to develop a political discourse that critiques classical tragedy. Second, they do not prioritise fidelity to the original texts; instead, they freely transform them to serve their purposes. Third, the Aristotelian perspective outlined in Poetics is treated as a false flag and is radically challenged in their interpretations.In Brecht's theatrical thought, one can see that tragedy and Aristotle's concept of drama have had a significant influence from the very beginning. From the 1920s onward, Aristotle and the Greek Tragedy remained a constant area of interest for the German thinker. However, the most important years for Brecht in this regard are the few years immediately following World War II, referred to as the “Greek period.” During these years, Brecht published his most important theoretical work, Kleines Organum für das Theater (1949) (A Short Organum for the Theatre), and also personally adapted and staged Sophocles’ Antigone after a long preparation process. He documented this staging process in another book: Antigone Modelbuch 1948 (1949) This article explores how Demirel's and Ören's plays incorporate Brecht's understanding of tragedy. It poses questions such as What are the political and literary functions of using King Oedipus and Antigone as source texts in these modern adaptations? Why were these plays chosen, and what sort of classical world is envisioned? If the goal is to establish a subversive dialog with classical tragedy, what is the significance of this approach?

Examining Two Turkish Adaptations of Classical Tragedy: What does  Brecht Tell Us?

Banu

Sedef Ecer’s play E-Mülteci was first staged in 2015 as a part of İzmir International Theatre Festival by non-professional actors and actresses. A year later, it was staged by Sedef Ecer as a part of İstanbul International Theatre Festival in a professional production before the play was moved to the French stage to be presented in French. The play depicts the contemporary issue of emigration and refugee from a different standpoint. While presenting the problems of refugees, Ecer introduces the controversial impacts of social media on our lives. Thus, the presentation of the issue of emigration and refugees through the depiction of social media draws attention to the presented themes. This approach of Ecer also enables her to present a contemporary criticism of the issue of emigration. As a Turkish actress, writer and director, Ecer, whose plays have been staged throughout Europe, has mainly preferred French as the primary language of her works. Such international reputation of Ecer proves itself to be significant for presenting emigration as a problem of humanity as reflected in this play. The play primarily focuses on the emigration of three female characters: Anaba from Guatemala, Hoa Mi from Vietnam, and Zaynab from Syria. Ecer provides a specific name for these characters and matches them with a specific culture and country; nevertheless, all three characters share a very similar story regarding their motivation to emigrate to another country. All three female characters are in search of more humane living conditions, escaping from political oppression and f inancial limitations. Moreover, they all share a similar fate as a refugee. Rather than finding opportunities to make their wishes come true, they become a victim of the system and continue to suffer as a refugee. In this regard, rather than focusing on the lives and experiences of these female characters, Ecer projects their experiences as refugees as a product of the culture industry, a term coined and discussed by Adorno and Horkheimer, and as a tool to deliver her criticism of both the social media and culture industry as evolved from the 19th century to the contemporary period. In the dystopic world depicted in the play, countries have lost their financial and economic powers. Instead, global companies have begun to rule the world. In a world where the erosion of borders is seen, the main and highly colourful character of the play E-Kaçakçı rules and shapes the lives of refugees. On the one hand, he fulfils the role of a narrator. On the other hand, he represents the dominating role of social media. In this regard, he can be pointed out as the main source of criticism. Although the term culture industry as theorised by Adorno and Horkheimer has been discussed quite in depth, when it is briefly summarised as an idea that aims to explain how consumption culture in capitalist societies produces standardised cultural items, it explains E-Kaçakçı’s function in the play. As put forward by Adorno and Horkheimer, individuality is merely an illusion. This is presented through the female characters in the play. Rather than appearing on the stage as individual characters, their emigration journey only serves to enhance E-Kaçakçı’s power. The way E-Kaçakçı controls social media suppresses any individuality of the characters. In this regard, the play depicts a world that has been under the control of social media and technology. While emigration and refugees have been diminished as a daily problem of the majority, Sedef Ecer retouches on these issues through the inclusion of social media. In the play’s world, which can be read as a dystopia as well, through the character of E-Kaçakçı, the role of social media has been criticised related to both emigration and refugees and to the culture industry as coined by Adorno and Horkheimer.

Commodifying Borders and an Act of Culture Industry in E-Mülteci  (E-Refugee)

Hakan

Assist. Prof. Dr.

Sovereignty, Identity and Populism: Critiques of Brexit and  Trump in My Country and Building the Wall

Adam

Scenes of Translation: The Politics of Representation in  Contemporary Dramaturgy

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Magda

Prof. Dr.

Body as a Machine: Meyerhold Between Politics and Theory

Merve

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

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Paola

Gaston

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

Verda

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.

MLA International Bibliography

Scopus

EBSCO

TR Dizin

DOAJ

SOBIAD

Gale Cengage

Ulrichsweb

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Journal of Theatre Criticism and Dramaturgy

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Editor in Chief

Co Editor in Chief

Managing Editor

Language Editor

Publicity Manager

Editorial Advisory Board Member

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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

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>Gale Cengage<a href="https://about.proquest.com/en/products-services/Ulrichsweb/" target="_blank" style="font-size: 14.6667px;">Ulrichsweb</a>

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.The journal does not accept submissions from authors who are not affiliated with a university and from students who are currently pursuing postgraduate studies.If an author has had their article published, they are ineligible to submit another article for publication for two years.

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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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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.RetractionJournal follows <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE’s Retraction Guidelines</a> in case of retraction. The editor has the right to retract an article if: <ul><li>There is clear evidence that the findings are unreliable; either as a result of a major error (e.g. miscalculation or experimental error), or as a result of fabrication (e.g. of data) or falsification (e.g. image manipulation).</li><li>It contains plagiarised content. </li><li>It has been published elsewhere without proper attribution. </li><li>It contains material or data without authorisation for use.</li><li>There is copyright infringement or there is some other serious legal issue.</li><li>It reports unethical research. </li><li>There is evidence that the peer-review process is compromised or manipulated.</li><li>The author(s) failed to disclose a significant competing interest (also known as a conflict of interest) that, in the opinion of the editor, would have unduly influenced the interpretation of the work or the recommendations of the editors and peer reviewers.</li></ul>In case of retraction the following steps are followed:<ul><li>Retraction notice including article title is published in a subsequent issue of the journal. The retraction notice is paginated and listed in the table of contents. </li><li>A link is provided between the retraction notice and the original article in the electronic version. </li><li>The online article is preceded by a page containing the retraction notice; the reader can then proceed to the article itself.</li><li>The original article remains unchanged, except for a watermark on the .pdf on each page stating that it has been &#34;retracted”.</li></ul>Article Removal for Legal ReasonsIn the following circumstances, except the metadata (title and authors), the text of the article is removed and a page informing that the article has been removed for legal reasons replaces the article. <ul><li>The article is found to be defamatory or to infringe the legal rights of others, and retraction is not deemed to be an adequate solution.</li><li>The article has been, or is reasonably likely to be the subject of a court order.</li><li>There is a significant risk to public health. </li></ul>

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.

The Artificial Intelligence Policy, prepared in light of developments in artificial intelligence (AI) and practices in scholarly publishing, sets out the editorial and ethical principles that authors, reviewers, and editors should follow when using such technologies. The following sources have been considered in the preparation of the AI policy:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) can develop and produce a wide variety of content, including text, images, audio, and synthetic data. When used ethically and safely, these capabilities can increase productivity and foster innovation, but when used without human guidance, they pose risks such as inaccurate and biased results, omissions and errors in citations, deficiencies in protecting privacy and intellectual property rights, and potential violations of authors' and publishers' rights. IUPress adopts the following core principles to avoid these risks in the use of AI:  <ul><li>Details of any AI used in the production of content (including but not limited to text, figures, images, and code) must be declared and clearly explained in the appropriate section of the paper (as an acknowledgement and/or in the methods section). </li><li>No AI tool may be listed as an author in any scientific paper. </li><li>Authors are responsible for the accuracy, completeness, and originality of their work, even if AI is used in any way; they are responsible for the proper referencing and attribution of others' ideas, data, words, or other materials. </li><li>Reviewers and editors must not upload submitted work, in whole or in part, to any generative AI application.</li></ul>In the editorial processes of IUPress publications, tools are available to assist editors in identifying AI-generated content. On the other hand, it is common to use AI tools that provide suggestions for improving and enhancing readability, language, and grammar, and such AI tools can be used in IUPress publications under the supervision of editors and authors.

Artificial Intelligence Policy

<ul><li>Authors are required to declare if they have used AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) in the creation of their submitted work. </li><li>Authors should explain, both in the cover letter and in the appropriate section of the submitted paper (as a footnote and/or in the methods section), which AI tool and which version of it they have used and for what purpose. </li><li>Authors should also indicate how they used the AI tool and how they assessed the validity of the results obtained using this technology, and what aspects of the paper, manuscript content, data or supporting files were influenced by the use of the AI tool or were generated by AI.</li><li>It is the authors' responsibility to ensure the accuracy, validity and appropriateness of content and citations generated by AI-assisted technologies and to eliminate potential errors, inconsistencies and biased results. </li><li>Authors should always check the original sources to eliminate possible plagiarism, recognising that there is a potential for plagiarism in texts produced with AI-assisted technologies. They should confirm that they have checked and that the sources are original.  </li><li>AI-assisted tools (such as ChatGPT) cannot be listed as authors because they cannot be responsible for the accuracy, integrity, and originality of the work, and these responsibilities are essential to authorship. Therefore, authors are responsible for all material involving the use of AI-assisted technologies. Authors should ensure that all statements in the article that state the hypotheses, interpretations, conclusions, limitations, and implications of the study represent their own opinions.  </li><li>Studies created by authors using AI tools in the following ways, which substitute for the basic researcher's and author's responsibilities, violate the principles of scientific publishing and publication ethics, and such studies are not eligible for inclusion in publications: </li></ul><ul><ul><li>Generation of text or code without rigorous review, </li><li>Generation of synthetic data to replace missing data without a robust methodology, </li><li>Creation of any inaccurate, synthetic content, including abstracts or supplementary materials, </li><li>Creation and manipulation of images and figures (pictures, graphs, data tables, medical images, image snippets, computer codes and formulae) or original research data (enhancing, hiding, moving, removing or adding a particular feature within an image or figure) using AI.</li></ul></ul>

It is essential to maintain confidentiality in the peer review process and not to share or use the reviewed work in this process. <a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>)<ul><li>Reviewers should not upload a manuscript or part of a manuscript submitted to them for review to generative AI tools or large language models to assist in the review, evaluation or decision-making process, as uploading content to such AI tools by reviewers violates the authors' privacy and property rights.  </li><li>Reviewing a scientific paper is a responsibility that can only be undertaken by human beings. The critical thinking and original evaluation required for peer review is beyond the scope of this technology, and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the paper. The peer review report and decision letters should reflect the personal assessment of the reviewers and editors of the submitted content. The reviewer is responsible and accountable for the content of his/her report. </li><li>AI tools may be used in a limited way to improve the quality of the language of the peer review report (for translation or language editing) in the context of peer review. If such use is made, the reviewer must declare the use when submitting the report. </li><li>Reviewers who suspect inappropriate or undisclosed use of generative AI in a submission should report their concerns to the editor.</li></ul>

Editors are obliged to ensure that the confidentiality of the manuscripts submitted to the journal is maintained during the evaluation process, and it is essential that the peer-reviewed work is not shared or used outside the parties involved in that process. (COPE - Code of Conduct and Best Practice Guidelines for Journal Editors) <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editors should not upload a submitted article, or any part of it, to generative Artificial Intelligence tools or Big Language Models to assist in the review, evaluation or decision-making process, as this may violate authors' privacy and property rights. </li><li>Managing the editorial review of a scientific article implies responsibilities that can only be attributed to humans. Generative AI or AI-assisted technologies should not be used by editors to assist in the evaluation or decision-making process of an article, as the critical thinking and original evaluation required for this task is beyond the scope of this technology and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the article. The editor is responsible and accountable for the editorial process, the final decision and its communication to the authors.</li><li>Editors should not use generative AI tools to compose decision letters or abstracts of unpublished research. </li><li>Editors may use generative AI tools to help find appropriate reviewers.</li><li>If editors suspect the use of generative AI in a submitted manuscript or a submitted referee report, they should conduct an editorial review of the matter and consider the policy.</li></ul>

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. Manuscripts should be prepared using the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2EAD51411FA04197BC9330B2F0F354A0" target="_blank">Article Template</a>. Due to double blind peer review, manuscript file must not include any information about the author.  2. All correspondence will be sent to the first-named author unless otherwise specified.3. 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>4. The submmitted manuscript must be accompanied by a <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/19DA494DFCAF49BC8117D52F01CC1704" 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).5. The abstracts (in the language of article and in English) must be of 100-150 words each.6. Five keywords (5 in the language of article and 5 in English) must be given underneath the abstracts.7. Extended abstract of 600-700 words is required for the manuscripts in Turkish and German.8. Quotations in the manuscript must be italicised and the citations in text must be indicated as footnote in 10 points.9. The text of the main document must be in Times New Roman font and in 12 points.10. Line spacing in the manuscript must be 1.5.11. The paragraphs must be indented 1.5.12. The title must be written with capital letters (14 points, bold).13. A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/19DA494DFCAF49BC8117D52F01CC1704" 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/JTA6CLJ8T5/19DA494DFCAF49BC8117D52F01CC1704" 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/JTA6CLJ8T5/19DA494DFCAF49BC8117D52F01CC1704" 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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Full Text (PDF)
Front Pages (PDF)

Journal of Theatre Criticism and Dramaturgy

ISSUE 34, 2022

Political Theater or Making Theater Political? Brecht’s Influence on Contemporary German-Language Theatre

Rewriting Women and Trauma: Zinnie Harris’s This Restless House

Living in the Past, Living with the Ghosts: Trauma and Postmemory in Jonathan Lichtenstein’s Memory

Plague: A Tragic Way to Empower the Artistic Imagination and to Deliver Hope

Kantocu Women in Tulûat Theater in Istanbul between 1880-1920

INFORMATION

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