(Re)considering Turkish Theatre in the Republic’s Centenary
Between Forgetting and Remembering: The Memory of the 1990s in Turkish Playwriting
Draaisma evaluates memory both internally and externally. Internal memory is the information stored in the human mind, and external memory is the writing of this information. The play texts have both internal and external memory characteristics. Following Halbwachs’ idea of collective memory, Assman classifies memory as mimetic, objects, communicative and cultural. Memory that is evaluated “objectively” by reconstructing the past becomes “subjective” by the playwright’s creation of the plot. Thus, this relationship between the objective and the subjective is external for the spectator who forgets or can forget and internal memory for the playwright as rememberer. After the nineties, the rapidly advancing communication technology and the dominant culture of the media caused an intense memorylessness. While man becomes memoryless in global speed, the common aim of the plays written after 1990 in Turkish Theatre is to remind the forgotten. Therefore, in this study, the past reconstructed through playwrights in Turkish playwriting after 1990 is evaluated; memories of the plays written by Behiç Ak, Civan Canova, Coşkun Irmak, Cuma Boynukara, Memet Baydur, Özen Yula, Tuncer Cücenoğlu, Turgay Nar and Yılmaz Onay are analysed.