Mesut

Assist. Prof.

The Role of Media on the Audience and Text in Nathan Ellis’ Play Work.Txt

Melike

Özge

The plays that Memet Baydur wrote in the 1980s and 1990s made him an important Turkish playwright. Kamyon, like the author’s other plays, touches on social problems. Written in 1990, Kamyon refers to the political and cultural atmosphere of the period while keeping the problem of alienation at its center. The main issues raised in Kamyon can be summarized as the adaptation problems caused by migration from rural to urban areas, the alienating dimension of the working conditions of the working class in the city, the prevalence of a status-based consumption approach, and the hierarchy created by power relations within social classes. The play begins with a truck loaded with goods from Gaziantep breaking down in a rural area near Denizli on the way to Istanbul. The truck passengers are stuck on an unknown road far from the city center, and a long waiting period has begun for them. The process of waiting for the truck to be repaired turns into both a time for play and a time for questions. The passengers distract themselves by asking each other riddles or making jokes about the objects coming out of the truck, while also using the time to discuss their migration journeys and the difficulties of working conditions in the city. They make jokes and chat while waiting, but the uncertainty about how long their wait will last creates the play’s tension. The cultural conflicts experienced as a result of the migration from rural to urban areas and the criticism of alienation are prominent themes. The play’s critique of alienation is multi-layered. For example, the labor exploitation caused by the working conditions of the characters is emphasized while consumerist society is criticized. What stands out, however, are the play’s comparisons of rural and urban spaces. The situations of the characters, who can be neither urban dwellers nor peasants, are interpreted through their migration experiences. Emphasizing that the characters are stuck between life in the village and the city helps to reveal the difficulties that migrants face in adapting to their new lives. As the play’s characters wait, the differences between work and daily life rhythms in urban and rural places are shown through the characters’ life experiences. It can be seen that the repetitive working rhythms of the city constitute an element of pressure and that abandoning the truck is a metaphor for leaving behind the exploitative nature of work in the city. The questioning during their wait not only reveals the differences in rhythms but also enables one of the characters to face the alienating aspects of his working conditions. Porter Abuzer, who while he waits questions the never-ending nature of his work, decides to abandon the truck, saying that he has given up on going to Istanbul. In this study, first, humor is evaluated as a prominent feature of Kamyon. In regards to the play’s comic aspect, the importance of the author’s use of language and the symbolic narrative established with the objects in the truck are characterized in terms of revealing the play’s critical perspective. The author’s social criticisms are then analyzed through the concept of alienation and the rhythmanalysis approach. Using the concept of alienation, which is handled in a Marxist framework, the play demonstrates the effects of the migration process, the working conditions of the working class, and consumer culture. The rhythmanalysis approach is employed in order to emphasize the rhythmic differences between rural and urban spaces and to illuminate the relationship of the work cycle with the repetitive rhythms based on labor exploitation.

Alienation and The Rhythms of Everyday Life in Kamyon

Uğur

Beytullah

Assoc. Prof.

Publications in the Field of Theatre: Bibliometric Analysis of International Theatre Studies

Oğuz

Öğretim Görevlisi Dr.

Rhythm in Plays: A Rhythmanalysis of Molière’s The Miser

Çiğdem

Molière’s plays aren’t composed of homogeneous, single-source, or “original” (original in the sense we would understand the term today) texts. They are built on multi-layered material with an intricate structure. Molière reused the text within his plays fairly often. For example, Le Médecin Malgré Lui (1666) borrowed various themes from Le Médecin Volant (1659) and L’Amour Médecin (1665). He also used a thirteenth-century French fabliau called “Le Vilain Mire/Le Paysan Médecin” (The Farmer as a Doctor) as the base for Le Médecin Malgré Lui. The translations of Molière’s comedies into Turkish started in the very early years of the nineteenth century, and then accelerated in the second half of the century, particularly during the period between 1869-1882. All the Turkish translations of Molière from the Tanzimat Era were either prepared or published between 1869-1882. The popularity of Molière’s plays on the Ottoman stage wasn’t an accident. In these years, the “Ottoman Theater” run by Agop Vartovyan/Güllü Agop functioned as a “national theater”, it was patronaged by Ottoman statesmen and supported by Ottoman intellectuals and writers. But the main problem of this theater was the absence of plays written in Turkish. Turkish translations of Molière’s comedies filled this gap and were prominently added into the Ottoman-Turkish theater repertoire. The choice of Molière as source material wasn’t an accident either. There are undeniable similarities between Molière’s plays and Ottoman popular theater in terms of the sources they draw from. The translators, adapters or rewriters of Molière into Turkish between 1869-1882 highlighted these parallels between the two theater traditions, choosing as the source text the plays of the French playwright that would be most familiar to Ottoman audiences. They went to considerable lengths to translate these comedies in a way that would keep them familiar to Ottoman audiences who grew up with Karagöz and Ortaoyunu. In Zor Nikâhı (Ahmet Vefik Paşa’s 1869 translation of Le Mariage Forcé), Ayyar Hamza (Âli Bey’s 1871 translation of Les Fourberies de Scapin), Pinti Hamit (Teodor Kasap’s 1873 translation of L’Avare) and İşkilli Memo (Teodor Kasap’s 1874 translation of Sganarelle ou le Cocu Imaginaire), the translators essentially rewrote the source text incorporating elements of Ottoman popular theater. First, all action was transposed so that it took place inside the borders of the Ottoman Empire, creating the atmosphere of an Ottoman neighborhood similar to that which exists in Karagöz and Ortaoyunu. Secondly, their translations featured characters wellknown to Ottoman popular theater. For example, Karagöz and his wife featured prominently. Çelebi, the gallant and the elegant dandy of Karagöz, was just as prominent. And the bullies of Karagöz (Tuzsuz, Efe, Matiz, Sarhoş, Külhanbeyi) were easily recognizable even when their names were changed. Thirdly, the quips and comedy were all adapted to dialogues more recognizable to an audience familiar with those of Karagöz and Hacivat or Kavuklu and Pişekâr, where much of the comedy was based on Turkish word play or Ottoman-specific verbal cues. Finally, Karagöz or Ortaoyunu breaks down the fourth wall on a regular basis, and this same technique was brought to performances and translations of Molière’s plays to emphasize to the audience that this was a play and not real life. The Turkish translations of Molière from the Tanzimat Era are mostly hybrid texts in which Molière’s plays and Ottoman popular theater were blended in a mix tailored specifically to Ottoman audiences of the period. These plays were massively successful throughout the 19th century and into the early 20th century in a number of Ottoman cities as a result, as the translators successfully adapted both notions of what Molière was, but also notions of what Ottoman theater itself could be.

Translation of a Tradition: Elements of Ottoman Popular Theater in the Turkish Translations of Molière in the Tanzimat Era

Res. Assist.

The accounts of Ancient Greek and Roman authors, as well as the related epigraphic documents, reveal that Greek society had a vivid theatrical culture from the Archaic Period onwards. Theatrical performances, which appear in various forms of Greek mousike –dramatic categories such as tragedy and comedy, as well as poetry with musical accompaniment, oratory, concerts, dance, and pantomime– where the elements such as text, space, decor, accessories, actors, audience, sound, music, and dance are combined in various ways, began to become intertwined with Greek agonistic culture very early on and became widespread throughout antiquity through agons (which simply means competition). In Greek society, these agons are categorized into three main groups: agones gymnikoi (athletic competitions in which physical skill comes to the fore), agones mousikoi (competitions in the arts such as theatre, music, and literature), and agones hippikoi (horse and chariot races). The earliest evidence of musical agons is found in the Homeric epics (app.eighth century BC), which are the oldest surviving examples of Greek poetry. In the Archaic Period, the most famous of the festivals that included musical agons was the Pythia, celebrated in the sanctuary of Apollo Pythios at Delphoi (Phokis). As the genres of Greek mousike developed in the Classical Period, new categories were included in theatre competitions, and new categories such as tragedy and comedy started to become increasingly important. Therefore, it is observed that agons are also important in terms of showing the practical equivalence of various sub-genres of Greek mousike. As of the end of the fifth century BC, Greek theatre began to be appreciated and widespread outside of Athens. Alexander the Great, who came to the fore as the protector of the Greek world during his attempt to avenge the Persian Wars, organized numerous musical agons during his Eastern Campaign. The Hellenistic kings following Alexander the Great, who set an example for his successors with this attitude, started to establish new agonistic festivals in this period when the limited number of agons of the Classical Period was no longer sufficient due to reasons such as the growing population and expanding borders. With a practice that seems to have become widespread from the third century BC onwards, it is observed that many agonistic festivals, not only in continental Greece but also in the whole Greek world, are modeled on the agons of the periodos, namely Olympia, Pythia, Isthmia, and Nemea, and accordingly were referred as isolympios and isopythios. Thereby, the legacy of Pythia, the most significant musical agon of the Archaic Period, continued in these copies, which are referred to as isopythios. Within this festival network, which began to expand in the Hellenistic Period, specialization and professionalism also appeared among theatre artists. The number of artists who earned their living from the agons and had professional training began to increase at this time. In the third century BC, artists gathered under a union which was called the Associations of Dionysian Artists. It is understood that these associations had a vital role in organizing the relationship between the contestants and the agons. The number of agons continued to increase in the Roman Imperial Period. The relationship that Greek cities established with the emperor, and&nbsp;the emperor cult that developed accordingly, added to the festivals and agons of this period. These new agons, which are related to philanthropic activities, stand out as a tool preferred by the urban elite to show themselves to the Roman Empire. These music agons are also similar in content to the categories of the Classical Period. Thus, it is understood that Greek theatre culture was not limited to Athens in the Classical Period, but survived Mediterranean-wide until the Roman Period.&nbsp;

Ancient Greek Theatre and Agonistic Culture

Gözde

Viewing Ancient Greek Tragedies in Light of Transformative Pollution: Antigone, Oedipus Tyrannus, Hippolytus

Tamer

Hakkı

Prof.

This article aims to develop a hypothetical proposal regarding the sustainability-related difficulties experienced in independent theatre companies operating in Istanbul, based on concepts from performance studies and symbolist anthropology with the intention of portraying the current social environment. The idea is to realize an audience-oriented study based on the concepts of performance, ritual, and identity as well as to become part of the academic research and journalistic knowledge produced within the scope of economical solutions and public incentives regarding the issue of sustainability. Therefore, the article desires to depict the situation in order to count the participants within the area of the performing ensembles and to create a proposal using a performance studies approach that can be associated with the concepts of temporary community, communitas, and anti-structure, which are related to ritual performance and connected to this liminal interval.Independent theatre ensembles have not had long life spans in Turkey. Alternative independent theatres have been running in Istanbul since the end of the 20th century, with the ensembles notably having short life spans despite the number of newly formed groups increasing each year. The turmoil experienced in the cultural field since the events of Gezi Park in 2013, the lack of support from public administrations, the deficiencies in legal regulations, the economic crisis after 2018, the closures caused by the pandemic, and the social anxiety experienced in the public spaces due to the pandemic have caused the disintegration of independent theatres. The loss of audience has been extreme both in private theatres as well as the overall performance space, so the problem can be said to exist beyond just independent theatres. Most theatres are closing, with 503 out of 608 theatres in Türkiye having closed during the pandemic.The presumption that the sustainability problem is related to finance and costs is also open to question. For example, the emptying of a sense of community identity, which describes the community due to the changing conditions of the field and society, has emerged as an important problem. Thus, the primary factor of the sustainability issue in independent performance ensembles can be interpreted as the erosion of the codes that respond to the transformations in the cultural needs of the society or target audience, codes that nurture these transformations or clash with the needs in opposition. This erosion has been produced by the mainstream by copying characteristics. From this point of view, one can conclude the need for transformation and change to be present in alternative or independent theatre communities. In accordance with these descriptions, theatres that position themselves in the field of independent performance in Turkey have a noteworthy issue regarding identity. Their weakness is in creating an identity based on performance, and thus the inability of the company’s performances to turn into a cultural and post-industrial social ritual undermines their sustainability.All these statements show the need to search for formulas of sustainability among the reasons related to the performance practices that may emerge by analyzing a performance theorization focused on the audience. Theorizations that examine the sustainability issue are needed along the axis of performance. One can also conclude that the most important and essential reason for sustainability is the transformation of the group’s performance into an alternative cultural activity in the audience’s agenda and daily lives using an audience-community ritual approach that takes the category of needs and satisfaction into consideration. An approach that will make the performance an audience ritual may be the key to sustainability. The factors of economy and public authority will always be at the forefront unless a community vision exists that involves a strategy with a performance-based approach, that adapts to the audience and thus to the social conditions, and that has the dynamism to change the shell without losing the ensemble’s identity through new ideas.

The Problem of Sustainability in Independent Theatres in Istanbul, Its Current Status, and a Proposal: Performance as an Audience Ritual

Seval

The City of Tales (Shahr-e Ghesseh) was written in 1967 by Bijan Mofid, who was born in Tehran and raised in an artistic family. The play received an award at the 2nd Shiraz Arts Festival in 1968. The play was adapted to cinema and continued to be aired on television after the Iranian Islamic Revolution. However, after a while, Bijan Mofid emigrated to the USA as he could no longer get permission to stage and publish his plays in Iran. Mofid continued his career as a playwright and drama director with American artists, and his works apart from The City of Tales include Mah o Palang [Moon and Leopard] (1968), Shaparak Khanoom [Mrs. Butterfly] as his allegorical work in which he used political satire and symbolism the most, and Jannesar [Liegeman], which he wrote in the siah-bazi [playing black] style of traditional Iranian drama as a strong satire but which could only get permission to be put on stage as a repertoire for workshop members, as it was not approved by the censorship committee. Due to his interest in children’s drama, Bijan Mofid started to write children’s plays in 1972 under a 10-year cooperation with the Kanoon-e Parvaresh-e Fekri-e Koodakan va Nojavanan [Children and Adolescents Intellectual Development Centre],better known simply as Kanoon,with titles such as Kooti and Mooti, Don’t Die Little Goat the Spring will Come, Sohrab, Asb va Sanjagak [Sohrab, Horse and Dragonfly], and Roobah va Ogab [Fox and Eagle] being among the first works he produced as a result of this cooperation.Although The City of Tales appears to address children at first sight, it is actually a narrative that focuses on contemporary sociopolitical issues. Mofid used the traditional rhythmic style in the play and turned the play into a musical drama. Mofid’s use of animal masks in The City of Tales shows that he preferred a familiar narration style frequently used in works ranging from Kalilah and Dimnah and Mantıq-ut-Tayr [A Conference of Birds] to allegorical stories written by classical period authors such as Mawlana and Ubayd Zakani. Thus, Mofid had adopted the method of reflecting the power of allegory into his works. The play has a poetic narrative that managed to become one of the classical theatrical works of modern Iranian literature, even if it is considered a verse text. When examining the general structure of Bijan Mofid’s plays, it can be understood to have its roots in Iranian folklore. In addition to the genres of traditional Iranian theater such as Ruhowzi [comic folk drama] and condolence, he frequently used Iranian folk tales in his plays. Rhythm stands out as one of the most important features in Bijan Mofid’s theatrical works.The City of Tales begins with the citizens of the city being introduced one by one with their masks on their faces. The donkey is engaged in wood engraving. The camel makes a living as a storyteller when he cannot earn money from his felt business (in fact, this statement is mentioned twice in the play, which can be interpreted as a criticism emphasizing the economic difficulty experienced by the storytellers of the period). The dog is a herbalist selling aromatic herbal teas and spices. The crow is busy with gossiping. The horse is in the refinery business. The mule is a blacksmith, the bear is a fortuneteller, the fox is a mullah [learned Muslim] teaching at a madrasah. The rooster is a lecturer. The parrot writes poems and publishes them in a magazine. The mouse is unemployed and is just in love, singing sad songs. The frog is a diver, the woodpecker is a carpenter, the owl is a painter, the monkey is a dancer, and the goat is a draper. Khaleh Sooskeh [Auntie Cockroach] wanders around in The City of Tales in her beauty and is busy with getting the residents of the city to fall in love with her. She chooses the rat from among her suitors and marries him. One day, the elephant accidentally turns up in the city, having fallen and broken his teeth while visiting his cousin. From that point on, the citizens of the city try to find an identity for the elephant, and events develop around this.

A Modern Mourning Ritual in Iranian Theater: The City of Tales

Naciye

Mine Söğüt is known for her debut novel, Beş Sevim Apartmanı, a work in which the author’s experimental technique on the basis of belief adds a literary value to the expression of psychological issues. The novel was adapted to the stage by two different playwrites, and performed by two theater groups accordingly. The first adapatation of this work was carried out and directed by Orçun Ucal and performed by Tiyatro Alesta in 2018, while the second was adapted by Aylin Saraç, İlknur Terzi, and Deniz Büyükuysal, directed by Aylin Saraç, and performed in 2019 by Tiyatro 1112 Garaj. In terms of translation studies, it can be fruitful to examine these two stage adaptations which were inspired by the same paradigm of meaning of the novel.It is evident in studying these two adapations that along with the shifting and evolving textual definitions, the notion of intersemiotic translation rises to the fore. Intersemiotic translation was first defined by Roman Jakobson as the translation of linguistic signs into non-linguistic sign systems. However, due to criticisms about Jakobson’s focus on language, the term has been redefined to cover translation procedures between different sign systems. This advancement has paved the way to analyze stage adaptations as intersemiotic translation, in which linguistic texts are recreated/translated into multimodal signs including language, light, music, stage design, and performance. This study aims to analyze two stage adaptations of Mine Söğüt’s novel Beş Sevim Apartmanı from the standpoint of translation studies and to evaluate these adaptations as they relate to intersemiotic translation. These two different transformations of the source text into stage performances reveal how linguistic signs can be translated into multimodal forms on stage. The overlapping and diverging features between the two adaptations have also been determined in the study. Accordingly, it has been concluded that rather than a constraint or a divergence, the intersemiotic translation from a linguistic sign -that is the book- into stage -as a multimodal form of expression- can be seen as an enriching practice which introduces more modes during the process of translation. In the analysis, it has been concluded that the adaptations share both similarities and differences. The first similarity could be noted as the recreation of the linguistic sign in the stage with movements, sound features, performance, light, and music. These multimodal forms are used in the adaptations both for emphasizing and replacing the linguistic material. The second similarity can be seen regarding the translation of the first and third person narrations in the text into on-stage performers as voice-overs. The translation/adaptation of the titles and subtitles in the text into light changes on the stage is another similarity. The revival of the polyphony in the narration with audio-visual elements on the stage could also be seen as a similarity between two adaptations. Concerning the differences, it could be noted that in line with their understanding of adaptation, each adapted version took different points of departure from the narration. Seeing adaptation as a process which emphasizes the role of the adapter, Ucal’s interpretation resulted in a one-act play on the stage whose theme revolves around schizophrenia, family, and being marginalized. Saraç’s view about adaptation on the other hand, leans more towards an understanding of the deep structure of the source text. Accordingly, her interpretation of the narration is performed as a two-act play referring to the imagery stories and real stories of the characters, with the focus being on the theme of belief, which is in line with the main thread of the narration. Accordingly, the order of the actions in the book was deconstructed and recreated in the first play, while it was largely maintained in the second. In general terms, the first play visualizes the single interpretation of the adapter that Samimi has schizophrenia, while the second performance maintains the mystery until the end and leaves the interpretation to the audience. It can be concluded that the two adaptations, which took their departure from the same source text, replicated the source text in two different ways on stage according to adapters’ interpretations. All in all, it can be seen that the two performances are examples for the translation of linguistic material in the source text into multimodality on stage in two distinct ways.&nbsp;

A Translation Studies Perspective to the Stage Adaptations of the Novel Beş Sevim Apartmanı by Mine Söğüt

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The “Age of Translations” (1869-1882) was a period in which the men of Ottoman theater provided theater companies with plays to be performed into Turkish, especially at Güllü Agop’s “Osmanlı Tiyatrosu”, and these new plays were written using different techniques of text production. By translating and adapting new French plays that were either considered classics or were popular at the time into Turkish, or by rewriting them in Turkish, they created an entirely new repertoire for the theater. Mehmet Hilmi’s Yirmi Çocuklu Bir Adam yahut Fettan Zaman İnsana Neler Yapmaz (The Man with 20 Children or What can’t Cunning Time do to People), an adaptation of Molière’s Monsieur de Pourceaugnac, is one of the more successful examples of this. Mehmet Hilmi transformed the source text to make it compatible, both in terms of culture and aesthetics, to the Ottoman audiences for which these plays would be performed and produced an “acceptable” translation. Monsieur de Pourceaugnac was a form of palace entertainment that includes music and dance, produced by Molière and Lully for Louis XIV. The play follows the downfall of an unwanted suitor, a common theme in Commedia dell’arte. The play, like many others in Commedia dell’arte, displays a loose and additive dramatic structure: the story isn’t of the utmost importance and the games played on the unwanted suitor Monsieur de Pourceaugnac are sequentially loosely tied together. These games are designed by Sbrigani to discredit Monsieur de Pourceaugnac in the eyes of his potential future father-in-law, Oronte, and to remove any obstacles to the union of Julie and Éraste, who love each other. In each new scene, the audience encounters a new trap set to break Monsieur de Pourceaugnac’s determination and to discourage him from getting married. By the end he gives up and returns to his homeland. Yirmi Çocuklu Bir Adam is a rewriting in which Mehmet Hilmi clearly felt comparatively uninhibited by any norms of translations and used all means and methods to reorganize the source text. Mehmet Hilmi changed the order of the scenes and discarded large parts of others. Almost all of the music, dance and ballet were scrapped in his translation. The parts at the end of the first act were kept, though transformed completely in the target text. There are fewer people in the target text than in the source text. In addition to singers, musicians and dancers, Mehmet Hilmi also cast aside some of the more minor characters. He also brought Molière’s other characters into an Ottoman context, often with names that would be recognized by the Ottoman audience as a particular type of character. Monsieur de Pourceaugnac thus became İbiş Ağa a common character in popular Ottoman theater. Unlike in the source text, no ethnic or geographical origin is attributed to him in the target text. In the source text, Monsieur de Pourceaugnac is bombarded with claims that he is sick in order to discredit him and send him back to his hometown. Mehmet Hilmi shortens this scene considerably and erases various characters from it entirely. The conversation between İbiş Ağa and Musa Ağa (Oronte in the source text) is reminiscent of Karagöz and Hacivat with much word play one after the other, a standard source of entertainment for Ottoman audiences. This type of word play is repeated later in the conversation between İbiş Ağa’s two fake wives. They both claim that he is their husband and engage in a fierce debate for comedic effect. This scene is similar to one of the scenes in Ortaklar, a well-known Karagöz play. The third act of Monsieur de Pourceaugnac presents another interesting example of the intersection between Ottoman theater and Molière. İbiş Ağa leaves the city in the guise of a woman at the suggestion of Fitne Kumkuması (Sbrigani in the source text). He wears traditional Ottoman women’s clothing and covers his face. This theme plays out also in many Karagöz plays wherein the main characters (Karagöz in Sahte Gelin, Hacivat in Salıncak) dress as women. These show how Mehmet Hilmi transformed the source text into something immediately recognizable in the context of Ottoman culture and the popular theater, creating a play at once both original and familiar.

The Commotion of the Chambord Chateau Brought to the Ottoman Stage: Yi̇rmi̇ Çocuklu Bi̇r Adam yahut Fettan Zaman İnsana Neler Yapmaz

Burcu

This study analyzes the relationship between the presence of the actor and the state of dionysiac ecstasis aimed at by Theodoros Terzopoulos and also examines the ways this relationship can contribute to the presence of the actor on the stage. In order to relate the presence of the actor with the state of dionysiac ecstasis, firstly theater of Terzopoulos is shortly described and what is the main focus of him is defined. Then the relationship between the presence of the actor and the state of dionysiac ecstasis is examined. The main material of Terzopoulos’ technique is the actor’s body and the most distinctive quality of his theater is the actors’ use of body. While working on the actor’s body his primary aim is to release the energies that are blocked. Only then, the actor can reach the point of ecstasis.The word “ecstasis” (ékstasis) was used in the meaning of “changing place or state, losing consciousness and forgetting oneself” in Ancient Greek. In Latin it has the same roots as the verb “exsistere”1 , which is used to mean “exist and occur” and is used in the same sense as the word “vecd” in Arabic which has the same root of the word “presence”. Based on all these words, it can be said that the state of ecstasis is related to going beyond the daily presence and experiencing a more deeply felt wholeness. Terzopoulos emphasizes that this deep experience is actually an ongoing change of state and presence and finds the roots of this transcendental state in tragedies and the Dionysian mystery. After long trials Terzopoulos formulates a method of reaching this ecstatic state which is totaly physical. He technically summarizes this method as following: “It is about releasing seven critical points in the spine so that energy is not blocked vertically. Energy should flow in the vertical plane without any obstacles. This is the first job in our theater. When energy flows vertically, it moves both upwards, to the sky and to the earth at the same time. Thus, it spreads in all directions and becomes universal. You turn into Dionysus.”Terzopoulos’ expressions about energy remind Eugenio Barba’s work on energy. The presence of the actor is precisely related to this energy, it is this energy that gives the actor’s body vitality and enables it to be present. Although this energy is a “intangible, unidentifiable and immeasurable force”3 , the word of presence must be understood literally as “ the ability to be and feel alive and to convey this awareness to the audience.”4 Working on the body parts in depth he tries to reach a flow of energy where every part of the body can be the center.&nbsp;These centers can also change constantly. It is the state of being and experience itself at that moment rather than showing or acting something. Terzopoulos mentions that he aims at the presence of the actor with this; his purpose is “ontologically pre-theater” beyond anything like character, role and psychology.&nbsp;&nbsp;Terzopoulos’s acting technique provides a framework that can be used to improve the actor’s presence on stage. The actor’s relationship with the play develops thanks to the physical exercises applied for the development of the actor’s holistic body perception and the circulation of vital energy, especially through the detailed work and activation of the seven parts. In this sense, all physical works, breathing and concentration exercises that enable both the energy centers in the body to relax and become active, provide an integrated workspace that every actor can apply to improve the presence of stage, even if she/he is not an actor of his theater. It also gives a structural suggestion to work on the presence as a wholistic training.&nbsp;

Theodoros Terzopoulos’ Dionysiac Actor and Her/His Presence on the Stage

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Nilgün

Actors of the Ottoman Stage & Walk-Ons of Dramatic Texts: Representation of Non-Muslim Ottomans in the Western-Style Drama

Nazila

Representation of Problems or Problematic Representation: Three Middle Eastern American Plays

Aycan

Öğretim Görevlisi

The expansion of the multicultural discourses, theories and art work has produced countless studies in the 20th and 21st centuries. As one of those studies, this paper aims to trace Homi Bhabha’s postcolonial hybridity and the third space theory in Cherrie Moraga’s apocalyptic play The Hungry Woman: A Mexican Medea (1994). Postcolonial theorist Bhabha considers the concept of hybridity as an identity which is shaped by the fusion of the colonizer and the colonized. According to his theory of postcolonial hybridity, when cultures interact and come into contact with each other, their original states disappear and a hybrid one emerges. Bhabha contends that while this blending of cultures may seem perilous to cultural identity, it can actually be advantageous for growth: cultural production, because of the cultural interblending, may become more creative. He also argues that a newness steps into the world of colonizers and colonized through a new cultural space which generates the third space. To him, hybridity does not only hold the traces of two cultures, but it also forms a third space that fosters creative production. The constant flow between them enables the inhabitants living in this area to be more productive. His idea of ambivalence also focuses on the culture which brings opposing perceptions together. He theorizes all the cultural characteristics from past to the present. By evaluating Bhabha’s postcolonial theories such as the postcolonial hybridity, the third space, ambivalence and in-betweenness, the study aims to indicate how Moraga tries to create such a third space by using mythology in her Chicana dramaturgy. Moraga, playwright, poet, and thinker, rewrites the Greek myth of Medea as a Mexican lesbian, and by doing so, she underscores the ancient roots and multicultural heritage of Chicanos inhabiting the United States of America. The largest ethnic group in the Southwestern States of the United States (California, Texas, Arizona, New Mexico and Colorado), Chicanos are Mexican – American people who have a history of resisting injustices caused by white supremacy. Through a feminist point of view, Moraga draws attention to the cultural dynamics and bilingualism of Chicanos in her play, The Hungry Woman: A Mexican Medea. As a lesbian activist, a feminist playwright, and a philosopher, she has championed the rights of her community throughout her life, and these concerns are at the core of her academic and works of art. In reimagining the Euripidean tragedy (5th century BC) and the ancient Greek myth of Medea, Moraga adapts it to her own culture and introduces three indigenous myths: La Llorona, Coatlicue, and The Hungry Woman. The play is set in Phoenix, Arizona, or Aztlan, the mythological homeland of the Aztecs. In the play, Medea leaves Jason, her husband, for her lesbian lover Luna, and she is exiled to the border. Jason wants the custody of his 13-yearold son Chacmool because he wants to marry a young woman. Medea, afraid that her son will become a man like his father, decides to kill her son to take revenge. Medea’s act of violence brings her death as well. Ostracized by her own people, Moraga’s Medea criticizes patriarchy and calls attention to queerness, nationhood, and indigenism. Using female characters derived from Greek and indigenous myths, Moraga creates women who defy patriarchy, colonial oppression, and heterosexism. The play underscores oppression towards women and emphasizes the cultural conditions of Chicanos as they exist in a third space. In the play, Moraga tries to show that people will continue to suffer as long as the boundaries between cultures exist. Women are the most oppressed ones in every aspect, and that new space and freedom will come forward when these borders / pressures are eliminated through cultural negotiation.

A Bhabhaian Analysis: The Postcolonial Hybridity and the Third Space in Cherrie Moraga’s The Hungry Woman: A Mexican Medea

Esma Armağan

The Association for Real Art (Объединение Реального Искусства) or OBERIU is an arts and literature group that used to be active between the years 1927 and 1930 in the Soviet Union. Many artists such as Malevich and Filonov became close to the community that comprised names such as Daniil Kharms, Aleksander Vvedensky, Konstantin Vaginov, Igor Bakhterev and Nikolay Zabolotsky. Oberiuty deals with their works in four parts in the manifesto they published. These are literature, visual arts, theatre and cinema. Each of the group members was interested in one of these branches at least, and it was reported that the community carried on work to open a music unit. Another thing mentioned in the manifesto was that community members needed to transcend art by encompassing it from afar, and near, and bring it to life. The community criticized Russian literacy, which was based on Western bourgeois translation literature and expressed that outmoded literature did not satisfy them. Besides this, a mistake was underlined: The avant-garde artists, who were held in high honour during the October Revolution, began to be smeared after the revolution. The mission that was attributed to art for creating the Soviet person played an important role here. Thus, avant-garde artists, who were regarded as the pioneers of the new order before the revolution, were accused for bourgeoisie and anti-Sovietism, to the extent that they did not provide the mission dictated to them after the revolution. What was done to artists whose works were boycotted, exhibitions were cancelled and works were censored does not end there. When socialist realism becomes the official ideology at the Soviet Writers’s First Congress, it was forbidden to produce works in different ideologies. In addition to those arrested and deported, some artists fled abroad in this process. Those who could not flee abroad were condemned to starvation, disease and death by being prevented from working. This is also what happened to most of the members of The Association for Real Art in the upcoming periods. The first and only production of The Association for Real Art, "Three Left Hours", took place on January 24, 1928. In the three-part presentation, the manifesto of the community was read, a poetry recitation consisting of works written by the members of the group was performed, the play Elizaveta Bam by Daniil Kharms was staged and the movie The Meat Grinder was presented. Elizaveta Bam created shock in the audience; because it was far beyond the usual forms, both structurally and in terms of content. The play begins with the protagonist Elizaveta Bam getting on the stage with fear of being arrested. Someone is after her and Elizaveta Bam looks for a place to hide from those people whom she thinks will scrape her off the face of the earth. However, the expected people arrive quickly and say that they will arrest Elizaveta Bam. When Elizaveta Bam asks for the reason, she receives no answer other than that she is found guilty. Fortunately, Elizaveta Bam finds an opportunity to play off the incoming duo against each other, and the tense moments are replaced by an absurd chase. A lot of absurd things happen during the play. Daniil Kharms' relation to the language particularly gives the play a quite different vitality and rhythm. The inconsistent and even nonsensical speech of the characters in the play causes us to think about the meaninglessness of existence, and the liberating side of this meaninglessness. The author's relation to the game is reflected in the actions of the characters and for the audience or reader, the play within the play becomes a nonsensical but entertaining track. What makes the play important is not only that it is structurally different from its predecessors. The play says a lot of things politically, too. The protagonist's fear of being arrested reveals the fears of the Stalin-Era Soviet people. Elizaveta Bam is found guilty of an unknown matter and runs away because of fear of being killed. But when she is arrested, it is unknown what will happen to her in the future. The aim of this study is to introduce The Association for Real Art and present the translation of play Elizaveta Bam by Daniil Harms. After a brief introduction, translations of excerpts from the selected poems and other writings by the community members will be shared.

Nonsense of Reality, Art of Nonsense: The Association for Real Art

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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 twice a year in June and December 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.

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DOAJ

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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 twice a year in June and December devoted to study of theatre and performance. <div> </div><div>The Journal features social and historical studies, theoretical inquiries that analyze dramatic texts and production. The languages of publication are English, German and Turkish. </div>

Aim and Scope

MLA International BibliographySOBİADTÜBİTAK-ULAKBİM TR IndexEBSCO Central &amp; Eastern European Academic Source DOAJ

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.

Policies

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

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

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

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

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

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

Ethics

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

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

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

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

Peer Review

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

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.  Editor-in-chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international 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

ISSN	1303-8605
E-ISSN	2687-4636
Period	Biannually
Editor	Nilgün Firidinoğlu
Journal of Theatre Criticism and Dramaturgy - Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is a peer-reviewed, open-access, scientific journal published twice a year in June and December 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.

Journal of Theatre Criticism and Dramaturgy

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