İhsan

Prof.

Transcending the Borders in Persians of Terzopoulos

Sibel

Assist. Prof.

Liminality, Resilience and Refugeehood in Zinnie Harris’s How to Hold Your Breath

Zeynep

Öğretim Görevlisi

Aslıhan

This article focuses on how the aesthetics of representation had changed regarding landscape in the libretto “Four Saints in Three Acts”, by the prominent 20th-century author Gertrude Stein (1874-1946). The text of this libretto has no specific plot, place, time, or actor, nor does the language directly represent any entity from the external world. Instead, the work represents itself here and now, thus becoming performative and acquiring a visual aspect. The new aesthetic Stein established by this use of a landscape text formed as a result of inspiration from the Cubist landscape paintings of her contemporary Pablo Picasso. Cubism sought to represent the world using a new method in the 20th century. This search transformed into a new perception of reality wherein wholeness and continuity disintegrated. In this new reality, objects were no longer depicted imitatively but were instead portrayed by artists through different uses of style and space. This new style resulted from the optical shattering experienced by the linear perspective, which has been widely used in the art of painting. Now, cornered, cubic shapes instead began being used that were formed using multiple perspectives as a technique where each object and plane had separate focus points and where the broken surfaces of these objects were shown to overlap from different perspectives. These paintings were made by excluding the linear perspective, which subsequently modified how viewers perceived them. This offered a way of simultaneous viewing a scene from different angles. This new art technique that had formed through simultaneous ways of viewing was based on multiple perspective drawings known as Cubist landscape paintings. The Cubist understanding of painting had started with Picasso, who would became the representative of the movement in 1908 with his landscape paintings, and was shaped not by recreating something that had already been painted, but by a creative telling of the now. Its purpose was to catch the moment as it exists in the present, which is why it uses the Cubist drawing technique that is formed using multiple perspectives. As such, the linear perception of time that had been formed through the linear perspective was replaced by a continuous now through the multiple perspectives in the Cubist shapes, with each perspective being perceived simultaneously, thus creating a perception of being present in a continuous now. This style of seeing as offered by the Cubism can be observed in the writing technique Gertrude Stein used in her libretto “Four Saints in Three Acts.” The language of her text is used in the continuous now, and the world is set up with unusual explanations without stories, working in parallel with Cubism’s principle of simultaneity. The situations that take place in the text do not progress with the support of a story through the usual sense of linear time. Instead, the text revolves around the reiterations occurring in a continuous now. This revolution presents the viewer of each iterating scene with a different perspective each time. Every scene that forms a different perspective through its reiteration reminds one of the shapes whose varied corners&nbsp;are highlighted within the simultaneity of Cubist painting. Thus, Stein did with words what Picasso did using colors and drawings. She used every kind of available argument to make the language performative, such as rhythmically repeating words and employing homonyms and homophones. The vocal similarity of words and the arrangements of words formed by connecting these similarities reveal the action (i.e., performativeness) of the language. This situation can also be read in the context of Derrida’s poststructuralist theory1 , which is based on the performativeness of words, with the performative quality of words leaving them open to instantaneous interactions due to the language not being a simple repetition of the same words, but a reproduction that exceeds imitation. Changing up the language and distinguishing it from its previous meaning opens the door for producing new narrations. As a result, the language becomes performative and gives the impression of being in the continuous now, thus forming a landscape of text.

How Changes in the Aesthetics of Representation and Cubism Affected Gertrude Stein’s Libretto “Four Saints in Three Acts”

Zümre

Assoc. Prof.

The focal point of this article involves questioning what being human means with regard to the web of dynamic relationships with a number of agencies, including but not limited to robotic bodies, which point to the technological evolution of humanity. The novel dynamics in robotization have paved the way for certain anthropocentric anxieties to lose human agency vis a vis robotic bodies by gaining greater agency to impact their environments. This article aims within the framework of posthumanism to overthrow this anthropocentric anxiety and to shatter the myth of human superiority that was formulated especially in accordance with the Enlightenment’s emphasis on the privilege of reason. By acknowledging the material and discursive interconnectedness in the process of making meaning, posthumanism has become the critical confuting of the anthropocentric positioning of humans as implemented by the humanist and Enlightenment discourses and ideas, hence challenging Cartesian dualism. Posthumanism revisits and redefines what being human means by opposing the separation of body and mind in the form of human existence and by challenging humans’ assumed superior and distinctive position and exceptionalism. In so doing, posthumanism also further criticizes and blurs ontological and epistemological categorizations by highlighting the inevitable and inseparable relations humans have with other agencies such as nonhuman animals, plants, elemental bodies, robotic bodies, toxic formations, seasons, radiation, continental policies, and social and cultural formations. Although posthumanism is not limited to only robotic redefinitions of what being human means, robotization still plays a key role in showcasing humans’ redefinition through posthumanist inquiries. From this perspective, this article aims to analyze how robots prevail in modern society, whether in the workforce or in artistic areas such as performance studies. This article exemplifies two famous robot musicians to trace the beginnings of the robotic presence in the music industry. The first example involves Shimon, a skilled musician developed in 2017 by Prof. Gil Weinberg at the Georgia Institute of Technology for a robotic music project. The second one involves Hatsune Miku, a virtual mixture of the vocal artist Saki Fujita, the anime designer Kei, and Crypton Future Media, Inc., as these two examples already show how robotic bodies have started to prevail in performance art. In addition to these two nonhuman bodies that are famous in the music industry, this article also draws attention to robot actors, in particular to the Seinendan Theatre Company and Osaka University Robot Theatre Project. This article also provides some robot theatre examples within this project, including La Métamorphose (2014) as a co-production of Japanese and French performance art, Sayonara (2013), and I, Worker (2013), all of which were written and directed by Oriza Hirata. Though not included in the above-mentioned robot theatre project, Francesca Talenti’s The Uncanny Valley (2013) and Rimini Protokoll’s Uncanny Valley (2022) &nbsp;are other examples of robot theatre. All these plays distinctively illustrate the dominance of robot actors on theatre stage as a counterpart to their human colleagues. In addition to these robot performers, the article also acknowledges the conceptual insertion of robotic and virtual bodies into plays long before the material introduction of robotic bodies on stage. A quotation from Caryl Churchill’s Love and Information (2012) illustrates how virtual bodies have been conceptually discussed in dramatic plays. This example also underlines the clash between the virtual/robotic embodiment and physical embodiment that appears in the dichotomy between organic and inorganic bodies. This dichotomy underlines humanity’s ancient fear about losing their essential and organic existence to inorganic machines. This fear is at the heart of blurring the line between life and death, thus indicating humanity’s obsession with defining life in human terms. By granting cogency to the posthumanist redefinition of humanity, this article hints at humanity’s evolution with robotic bodies. American soldier Craig Lundberg showcases how a human body can evolve through constant interaction with robotic and technological extensions and insertions. Upon taking all these examples and theoretical discussions into consideration, this article redefines and revises what being human means using post-humanist ideas with references to a number of robot theatre performers.

Robotization on Stage

Nazım

The concept of self-consciousness Hegel developed in his The Phenomenology of Spirit describes humans as having a consciousness endowed by naturel with a biological presence and a position within the social structure. Humans must develop an awareness of both the natural consciousness formed by object knowledge and the self-consciousness formed by knowledge of one’s own subjectivity. A person who is aware of one’s physical and social existence as well as of the fundamental desires that allow one to sustain one’s life can express this through art. The reason humans are so involved in reflective relationships is because one recognizes that truth is already quite substantial. Specifically, comedy can be read in conjunction with selfawareness, because the human being objects to their own existence. Through Hegel’s notion of self-consciousness, this work aims to develop a dramatic approach to reading comedy. The Old Comedy as a phase of Spirit’s philosophical system and the acting performance in these plays influenced Hegel’s explanation of comedy. This study, however, attempts to develop an approach to reading comedy texts and has chosen two plays, one from Old and one from New Comedy, because the author-text-reader relationship is believed to guarantee the object’s identity. In the same way that Hegel expressed how comedians laugh at their own existence with the audience, the reader’s response to the text’s assertion that truth is quite substantial as it is may elicit amusement. People who laugh as a result of realizing their objective subjectivity through comedy will bond over the basis of interdependence. By developing a self-awareness approach through dramaturgy, the study aims to enable the writer and reader to recognize that, in addition to being characters, they are also objects. Also, reproducing objective subjects through text will produce a cyclical system with greater self-awareness. By analyzing Aristophanes’ (422 BC) The Wasps and Menander’s (316 BC) Dyskolos [The Grouch], this article attempts to show how people reflect themselves in the texts. The projection of moments Hegel used while explaining consciousness and self-consciousness is evaluated in the context of character production by adapting it to the plays. The dramaturgical reading model this study develops has been shaped by adapting the theory of consciousness as explained in Hegel’s Phenomenology of Spirit to comedy. The achievement of this reading is that the writer and the reader can become aware of their own objective subjectivities through the text. Through an examination of the chosen plays, the article attempts to demonstrate how people reflect themselves in literary works. This research evaluates the projection of the moments Hegel uses to explain consciousness and self-consciousness in the context of character production by adapting it to plays. This work develops a dramatic interpretation of comedic texts using Hegel’s concept of self-consciousness and attempts to demonstrate how the subject is also an object by adapting the conception of consciousness in Hegel’s The Phenomenology of Spirit to the construction&nbsp;of character. This article reads the two plays in three stages: The first entails learning about the body and object through the characters, the second is about one’s sociality and substance, and the third is about one’s identity as both substance and object. Humans attain a higher level of consciousness as a result of the comedy revealing the self through the other as represented in the texts. People who are able to share a chuckle with their character in the text also coalesce in the self-object identity transition.

A Model for Reading Comedy Using Hegel’s Concept of SelfConsciousness

Maral

Liveness Through Audience Participation in Digital  Theatre: Map to Utopia As a Playground in Digital

Theodoros

Myth and Innovation Road

Ayşe

Lecturer

Bergson and Durational Performance (Re)Ma(r)king Time

Hakan

Steve

The Last Public Space: Understanding the Tension Between Politics and Drama in Contemporary British Theatre

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@JOURNAL_BOX_EARLYVIEW

Çiğdem

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

Res. Assist.

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

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

@JOURNAL_BOX_MOSTREAD

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.

MLA International Bibliography

EBSCO

TR Dizin

DOAJ

SOBIAD

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Journal of Theatre Criticism and Dramaturgy

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Editor in Chief

Co Editor in Chief

Editorial Management Board Member

Editorial Assistant

Language Editor

Editorial Board Member

@INFO_TAB_BOARDS

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 BibliographyTÜBİTAK-ULAKBİM TR Dizin<div>DOAJ - Directory of Open Access Journals</div><div> EBSCO Central &amp; Eastern European Academic Source</div><div> EBSCO International Bibliography of Theatre &amp; Dance with Full Text</div><div>  SOBİAD </div>

Indexing and Abstracting

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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.

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

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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