Kırgız Epik Destan Geleneğinin Tiyatro Sanatına Yansıması: Cañıl Mırza Destanı ve Kukla Tiyatrosu Örneği
Ezgi Oya Gümüş, Özkul Çobanoğlu1926 yılında ilk kez modern anlamda Sovyetler Birliği döneminde perde diyen Kırgız Tiyatrosu 98 yıldır kesintisiz olarak varlığını sürdürmektedir. Modern Kırgız tiyatrosunu besleyen kaynaklardan birisi de Kırgız epik destanlarıdır. Kırgızistan’daki tiyatrolarının repertuarlarını incelediğimizde Kırgız epik destanlarından esinlenerek yazılmış, sahnelenmiş tiyatro oyunlarının varlığını tespit edilmiştir. Bazı destanların doğrudan tiyatro olarak sahneye taşındığını görülmüştür. Destanlardan esinlenerek yazılan tiyatro metinlerini incelediğimiz zaman açığa çıkan tiyatro türünün kendine has özellikleri olan “Kırgız Epik Destan Tiyatrosu” olduğunu belirlenmiştir. Araştırmamız kapsamında epik destan özelliği gösteren, kendine has özellikleri olan bu tiyatro metinlerinin varlığını akademik ve sanat camiasına duyurmayı amaçlanmıştır. Makalemizde Calil Sadıkov’un Cañıl Mırza destanından esinlenerek yazdığı metni incelemeyi seçtik. İçerik ve biçim açısından destan ile arasındaki benzerlikleri ve farklılıkları belirlenmiştir. Kuklaların ve tiyatro gösteriminin sahne tasarımında kullanılan Kırgızlara ait maddi kültür unsurlarını da tespit edilmiştir. Sonuç olarak; belirtmeliyiz ki Cañıl kukla tiyatrosu destan metniyle ile benzerlik gösteren, epik destan anlatım özelliklerinin taşıyan özgün bir eserdir.
Reflection on Kyrgyz Epic Saga Tradition in Puppet Theatre: A Study of “The Epic of Janyl Mırza”
Ezgi Oya Gümüş, Özkul ÇobanoğluThe Kyrgyz theatre, originating in 1926 during the Soviet Union era, has persevered uninterruptedly for 98 years, embodying modern sensibilities while drawing deeply from the wellspring of Kyrgyz epic sagas. These ancient narratives have not only inspired but also directly influenced the theatrical repertoires of Kyrgyzstan, giving rise to a distinctive form known as “Kyrgyz Epic Saga Theatre.” In this study, we aim to shed light on the intersection of Kyrgyz epic tradition and the art of puppet theatre, focusing on the example of “The Epic of Janyl Mırza.” Authored by Calil Sadikov, this theatrical piece is intricately woven with elements drawn from the epic saga of Janyl Mırza, showcasing both similarities and deviations in content and form. Furthermore, the stage design of Janyl Mırza is imbued with material cultural elements, providing a rich visual tapestry that resonates with the essence of the epic tradition.
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.