Relevant bibliographies by topics / Turkish Theatre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Turkish Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Turkish Theatre"

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Korkut, Perihan. "“Creative Drama” in Turkey." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (January 1, 2018): 70–86. http://dx.doi.org/10.33178/scenario.12.1.5.

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The Turkish Republic is a young one. Established in 1923, it has gone through many social and political transformations, which have inevitably had an influence on how science and art are perceived. The Republic inherited from the Ottoman Empire a performative art tradition which had its roots in three distinct types of theatre: village shows; folk theatre played in town centres; and court theatre, which was based on “western” theatrical traditions. Considering the geographical location of Turkey, the term “West” signified the more advanced and civilized countries of the time, most of which were located in Europe. Having recently emerged from a tragic war, Turkey’s most urgent aim was to be on a par with these western countries in terms of science and arts. Therefore, western theatre, rather than the traditional forms, was promoted by the government (Karacabey 1995). As a result of this emphasis on western forms of theatre, many translated and adapted works were performed in theatres. In fact, even today, nearly half of the plays put on stage by Turkish state theatres are translated works. The following sections describe some examples from traditional and western forms of Turkish theatre. Fig. 1: http://aregem.kulturturizm.gov.tr/Resim/126102,ari-oyunu-yozgat-akdagmadeni-bulgurlu-koyu.png?0 These are short plays performed ...
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Akdede, Sacit Hadi, and Ayla Ogus Binatli. "Analysis of Attendance in Turkish State Theatres." Empirical Studies of the Arts 35, no. 2 (August 10, 2016): 230–46. http://dx.doi.org/10.1177/0276237416661987.

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In this article, a system of equations is estimated, and the determinants of attendance for plays put on stage by the General Directorate of State Theatres in Turkey are investigated for the 2002 to 2003 season. We disaggregated attendance by type (discounted vs. single tickets) and by location. Our results suggest that the preferences of single and discounted ticket buyers are different. Specifically, we found that for discounted ticket holders, live theatre is negatively affected by price, but that for single ticket holders, the consumption of live theatre displays properties of the Veblen effect. We speculate whether this could be evidence of the Veblen effect for the consumption of the arts in general and for consumption of state financed live theatre for the Turkish case.
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Özçelik, İlker. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 187–96. http://dx.doi.org/10.18778/2083-8530.21.12.

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Özçelik, İlker. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 187–96. http://dx.doi.org/10.18778/2083-8530.21.12.

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TÖRE, Enver. "Sources Of Turkish Drama/Theatre." Journal of Turkish Studies Volume 4 Issue 1-2, no. 4 (2009): 2181–348. http://dx.doi.org/10.7827/turkishstudies.614.

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DOĞAN, Âbide. "Impact Of Brecht On Turkish Theatre." Journal of Turkish Studies Volume 4 Issue 1-1, no. 4 (2009): 409–22. http://dx.doi.org/10.7827/turkishstudies.551.

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Schulte, Hanife. "Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests." New Theatre Quarterly 36, no. 1 (February 2020): 29–41. http://dx.doi.org/10.1017/s0266464x20000081.

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In this article Hanife Schulte discusses Thomas Ostermeier’s Ein Volksfeind, a German version of Henrik Ibsen’s An Enemy of the People that toured to the International Istanbul Theatre Festival in 2014. In borrowing Maria Shevtsova’s notion of the sociology of performance, Hanife Schulte offers a sociological examination of Ein Volksfeind’s Istanbul performances and demonstrates how the first anniversary of Turkey’s Gezi Park protests at the time of the festival influenced the performances. These protests, which began in 2013, were in resistance to the Turkish government’s urban development plan for Istanbul’s Taksim Park. In her examination of the dramaturgy and stage design of the production and its Turkish reception, Schulte argues that Ein Volksfeind’s political dramaturgy-in-progress allowed Ostermeier to adapt its touring performances in Istanbul and transform them into events in which the Turkish audiences became fellow performers and adaptors who reflected on the Gezi Park protests. She also suggests that Ostermeier showed solidarity with the Turkish people resisting political violence and oppression in tackling their local politics. Hanife Schulte has completed three years of doctoral research in Theatre and Performance Studies at Tufts University and is an alumna of the Mellon School of Theater and Performance Research at Harvard University, where she participated in the 2019 Session on Migrations.
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Baş, Elif. "From the Ottoman Empire to pre-Islamic Central Asia: Theatre as an Ideological Tool." East-West Cultural Passage 20, no. 1 (June 1, 2020): 7–29. http://dx.doi.org/10.2478/ewcp-2020-0001.

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Abstract After Mustafa Kemal Atatürk founded the new Turkish Republic in 1923, the country went through a swift and radical transformation. The ruling elite made use of all possible tools to impose the ideals of the new Republic. Their main objective was to break the bonds with the Islamic Ottoman past to establish a new secular national identity. The essence of the new Turkish nation was found in pre-Islamic Central Asia. This view was supported with the help of the Turkish History Thesis, which asserted that the Turks are a supreme race, and their origins are from Central Asia. The state tried to propagate this thesis by various means. The most effective tool that could reach the illiterate people during that period was the theatre. Accordingly, the aim of this article is to explore how the state disseminated the Turkish History Thesis and the values of the new Republic through theatre. The emergence of this new narrative coincided with the tenth anniversary of the Turkish Republic. The plays, written in 1933, especially for this occasion, will be analyzed to determine how they support the Turkish History Thesis and the values of the new nation. Two plays, Akın (The Raid) and its sequel Özyurt (Homeland), will be explored in detail to give an elaborate account of the ideology behind such plays written during that period.
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Diamond, Catherine. "Darkening Clouds over Istanbul: Turkish Theatre in a Changing Climate." New Theatre Quarterly 14, no. 56 (November 1998): 334–50. http://dx.doi.org/10.1017/s0266464x00012410.

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Modern Turkish theatre, benefiting from the support of the founder of the Turkish Republic, Mustapha Kemal Ataturk, has had a secular bent throughout its history. However, after the elections of 1994 and 1995, when Refah (Welfare) Party candidates espousing a distinctly religious agenda swept into power, dramatists have found themselves in an uneasy position, caught between corrupt secular politicians and a censorship-inclined military on the one hand, and Islamists hostile to theatre both in principle and as an unnecessary luxury on the other. Besides swiftly changing demographics and competition from alternative entertainments, shifts in political policy in Istanbul are eroding the city's strong theatre tradition. Yet the theatre of this nation which straddles Europe and Asia maintains an impressive vitality and variety, with state and municipal companies mounting regular seasons of foreign and Turkish works, and experimental troupes challenging established theatre forms as well as daring to broach some of the sensitive ideological conflicts in Istanbul. Catherine Diamond, a dancer and drama professor in Taiwan, is author of Sringara Tales, a collection of short stories about dancers in South-East Asia and the Middle East.
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Baş, Elif. "The Quest of Young Turkish Playwrights: In-Yer-Face Theatre." American, British and Canadian Studies 30, no. 1 (June 1, 2018): 114–32. http://dx.doi.org/10.2478/abcsj-2018-0007.

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Abstract In-yer-face theatre, which emerged in Britain in the 1990s, became extremely popular on the stages of Istanbul in the new millennium. Some critics considered this new outburst as another phase of imitation. This phase, however, gave way to a new wave of playwrights that wrote about Turkey’s own controversial problems. Many topics, such as LGBT issues, found voice for the first time in the history of Turkish theatre. This study examines why in-yer-face theatre became so popular in this specific period and how it affected young Turkish playwrights in the light of Turkey’s political atmosphere.
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Dissertations / Theses on the topic "Turkish Theatre"

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Salih, Canan. "Towards an understanding of how London Turkish Cypriot youth 'perform' their Diaspora identities through emplacement and mobility." Thesis, Royal Central School of Speech & Drama, 2014. http://crco.cssd.ac.uk/465/.

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The London Turkish Cypriot (LTC) community has been described as ‘invisible’, a community at the point of eradication (Aksoy and Robins 2001). For three generations of LTCs the process of cultural identification has seen an evolution from migration and ‘homeland’ association, to critical displacement, assimilation and different perceptions of what is ‘home’. The growing diversity in cultural identification is further reflected in enhanced access to spatial consumption, mobility and choices of emplacement for its younger generations. This PhD is driven by practice-as-research. The practice, and therefore line of reasoning, behind this research is an ongoing, organic process that has shifted throughout the course of the thesis. The documentation of the practice-as-research is included in the accompanying DVD and is integral to the findings of this thesis. The thesis asks how LTC youth ‘perform’ their identities and negotiate a diaspora identity that is in constant flux. The enquiry consists of two main lines of enquiry. First, I am exploring how young people use public spaces through mobility and a ‘mobile’ culture, using mobile initiated technology to further explore the idea of movement and flux. Second, I progress towards a greater understanding of the participating young LTCs’ concept of ‘home’ and what elements of their every day performative behaviour, their environment and relational spaciality construct and support these home-making practices. The thesis addresses complex issues arising out of auto ethnographic practice-as-research of the LTC community, conducted through applied drama practices with its youth. Issues include identifying young participants’ relationship to cultural space, place making and notions of ‘home’ as part of their identity construction process. The thesis also discusses the ‘fit’ of applied drama as a qualitative research tool within this context and the fluidity of changing technologies that can be, and are at times, used to document examples of practice.
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Stewart, Elizabeth. "Turkish-German scripts of postmigration : mimesis and mimeticism in the plays of Emine Sevgi Özdamar and Feridun Zaimoglu/Günter Senkel." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25972.

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Fifty years after large-scale Turkish labour migration to the Federal Republic of Germany began, theatre by Turkish-German artists is only now becoming a consistent feature of Germany’s influential state-funded theatrical landscape. So whilst much scholarship in recent years has focused on Turkish-German literature and film, very little research has been conducted into Turkish-German theatre. This doctoral thesis addresses this neglected field of study and examines contemporary theatre practice and theatrical representation in the Federal Republic of Germany as a country of immigration. It traces the fascinating fates of five plays by two Turkish-German playwrights who are already well-known for their award-winning prose work: Emine Sevgi Özdamar and Feridun Zaimoglu, who writes for the stage with Günter Senkel. The thesis focuses on these plays in performance and examines the dramatic and performance texts’ negotiations of 1) mimesis – the artistic representation of ‘the real’ – and 2) mimeticism – a mechanism identified by cultural theorist Rey Chow as relying on Platonic concepts of idealised ‘originals’ to keep certain subjects ‘in their place’. The thesis argues that Özdamar’s plays in production function as touchstones for thinking through broader tendencies in the German theatrical establishment’s inclusion of theatre by, with, and concerning Turkish-Germans, while Zaimoglu/Senkel’s reveal points at which these paradigms shift. The earliest production which the thesis examines, Özdamar’s Karagöz in Alamania, was premiered in 1986, and the most recent, Özdamar’s Perikızı, in 2011. The intervening years are marked by the examination of Zaimoglu/Senkel’s Othello (2003), Schwarze Jungfrauen (2006), and Schattenstimmen (2008). As theatrical production in Germany is a process which tends to take the play out of the author’s hands, the thesis aims to unpack the negotiations between text and performance, author and director, ensemble and audience in each production. In doing so it makes use of extensive field and archival work. For each play addressed, the thesis moves beyond the dramatic text to draw on a wide range of sources including audiovisual recordings, prompt scripts, programmes, and interviews with the directors and authors. This historicising approach to performance analysis allows connections to be made between the performances as historical events taking place within an institutional context and the negotiations of mimesis and mimeticism within the mise-en-scène of each play in its world premiere and beyond. Key questions addressed throughout include: in what context were these plays staged? How were migration and migrant or postmigrant figures represented within them? How were productions received? And what does this have to tell us about cultural production and aesthetics within the very particular circumstances created by twentieth-century Turkish migrations to Germany? A focus on ‘mimeticism’ allows this thesis to explore the ways in which the productions examined approached the representation of ‘ethnicised’ figures. It also reveals the extent to which a positioning of plays by Özdamar and Zaimoglu/Senkel as ‘Turkish’, ‘Turkish-German’, or ‘postmigrant’ may also have affected their production and reception. A complementary focus on ‘mimesis’ then allows this thesis to examine the degree to which these performances were intended or received as aesthetic interventions relevant to the social reality of contemporary Germany. Indeed, the trajectories which this thesis traces over the past quarter of a century see Turkish- German theatre move not only geographically, but also symbolically, from the margins to the centre of theatrical life in contemporary Germany. Rather than seeing this relatively late success as reason to obscure earlier Turkish-German theatrical productions, this study places that success in context. It thus highlights the role which Özdamar's and Zaimoglu/Senkel's ‘script[s] of multiculturalism’ (B. Venkat Mani) have played in a larger, ongoing re-scripting of the German stage, which has taken place as Germany adjusts to its status as a country of immigration.
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Celik, Ipek Azime. "Spectacular Regimes and Political Drama: A Comparative Study of Greek and Turkish Theatre in the 1960s and 1970s." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391616872.

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Özer-Chulliat, Sibel. ""Se mettre en scène" dans les adaptations contemporaines de textes classiques : un point tournant dans l'art de la mise en scène ?" Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA133.

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Depuis quelques années, certains metteurs en scènes européens prennent des initiatives particulièrement audacieuses dans leurs adaptations de textes classiques, coupant le texte, modifiant l’ordre des monologues et allant jusqu’à injecter des morceaux de textes écrits par eux ou bien issus d’autres oeuvre littéraires. Ils n’hésitent plus à "se mettre en scène", c’est-à-dire à traiter avant tout leurs propres questions existentielles par l’intermédiaire des textes classiques, se libérant ainsi de toute pression exercée sur eux par les interprétations textuelles faisant autorité ou bien par les représentations de ces textes dans l’imaginaire collectif, et emmenant les textes classiques dans un "ailleurs" très personnel. Leurs mises en scène dépassent la fragmentation et le désordre propres au théâtre postmoderne et s’attachent au contraire à raconter une histoire cohérente, centrée sur les préoccupations intimes du metteur en scène. Ce nouveau type de mises en scène s’appuie sur des influences diverses, depuis André Antoine jusqu’à Heiner Müller, en passant par Stanislavski, Artaud et Brecht, et constitue une nouvelle étape dans le processus d’autonomisation de l’art de la mise en scène à l'oeuvre depuis le XIXème siècle. Le corpus de cette thèse comprend quatre récentes adaptations (réalisées entre 2008 et 2011) de textes classiques : Hamlet de Thomas Ostermeier, Hamlet de Nikolaï Kolyada, Roméo et Juliette d’Olivier Py et Un tramway de Krzysztof Warlikowski (à partir de Un tramway nommé Désir de Tennessee Williams). Il comprend également une mise en pratique sous la forme d’une adaptation, Pygmalion - J’ai créé une femme (à partir de Pygmalion de George Bernard Shaw), réalisée par l’auteur de la thèse en 2014 au sein des Théâtres Nationaux de Turquie, et ayant permis de tester les arguments et conclusions tirés des analyses précédentes
In recent years, some European directors are taking particularly bold initiatives in their adaptations of classic texts, cutting the text, changing the order of monologues and even injecting pieces of texts written by them or from other literary works. They do not hesitate to "stage themselves", that is to say, to treat primarily their own existential questions through the classic texts, thus releasing any pressure exerted on them by the authoritative textual interpretations or by the representations of these texts in the collective imagination, and taking the classic texts in a very personal "elsewhere". Their stagings exceed the fragmentation and disorder specific to postmodern theater and focus instead on telling a coherent story, centered on the intimate concerns of the director. This new type of staging draws on diverse influences from André Antoine to Heiner Müller through Stanislavski, Brecht and Artaud, and represents a new stage in the empowerment process of the art of staging at work since the nineteenth century. The corpus of this thesis includes four recent adaptations (conducted between 2008 and 2011) of classic texts: Thomas Ostermeier’s Hamlet, Nikolai Kolyada’s Hamlet, Olivier Py’s Romeo and Juliet, and Krzysztof Warlikowski’s A Streetcar (from A Streetcar Named Desire by Tennessee Williams). It also includes a practical application in the form of an adaptation, Pygmalion - I Created A Woman (from Pygmalion by George Bernard Shaw), directed by the author of the thesis in 2014 in the Turkish State Theatres and having tested the arguments and conclusions from previous analyzes
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Boran, Erol M. "Eine Geschichte des türkisch-deutschen Theaters und Kabaretts." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1095620178.

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Kurt, Williams Cigdem. "Réécrire Molière en Turquie à l'âge des réformes : seconde moitié du XIXe siècle." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC008.

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Dans la seconde moitié du XIXe siècle, les comédies de Molière devinrent une source féconde pour les Ottomans qui cherchaient à renouveler les arts dramatiques populaires et à créer ainsi un nouveau théâtre national. Ce travail se concentre sur les deux grands vecteurs de la transmission à l’étranger du répertoire français au XIXe siècle (les pièces qui voyagent dans leur langue originale et les traductions et autres adaptations des pièces françaises en vogue) et poursuit le but d’analyser dans sa complexité la transmission du théâtre moliéresque dans l’Empire ottoman à l’Âge des réformes. Ce travail se propose de réécrire sous un nouvel angle l’histoire de la modernité théâtrale turque en mettant l’accent sur les changements que subirent les arts du spectacle populaires face à la popularité grandissante du théâtre moliéresque dans la capitale ottomane et sur les grandes tournées dramatiques des vedettes françaises dans une Constantinople très vivante et cosmopolite
In the second half of the nineteenth century, Molière's comedies were seen as a fertile source of material for Ottoman playwrights eager to bring new ideas to the popular dramatic arts and to create a new form of national theater. This dissertation concentrates on two primary ways that French theater was transmitted to the theater-going public in the nineteenth century : First, plays that traveled in their original language ; and secondly, translations and adaptations of the French plays most popular at the time. This dissertation aims to analyze Molière's theater in all the complex ways it was transmitted throughout the Ottoman Empire during the Age of Reforms. This dissertation proposes a new perspective on the history of modern Turkish theater, underlining the transformation that the popular dramatic arts went into in the midst of the growing popularity of Molière's theater in the capital and the effect of French theater stars coming to what was a lively and cosmopolitan Istanbul
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Books on the topic "Turkish Theatre"

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And, Metin. Karagoz: Turkish shadow theatre. 3rd ed. Istanbul: Dost Publications, 1987.

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Wien, Don Juan Archiv, ed. Ottoman Empire and European theatre. Wien: Hollitzer, 2013.

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Türk sahnelerinden izlenimler: Impressions from the Turkish stage. Beyoğlu, İstanbul: Mitos Boyut Yayınları, 2009.

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Artun, Erman. Cemal ritüeli ve Balkanlardaki varyantları. Ankara: Kültür Bakanlığı, 1993.

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II. Meşrutiyet tiyatrosu: Yazarlar-piyesler. İstanbul: Duyap, 2006.

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Getürkte Türken: Karnevaleske Stilmittel im Theater, Kabarett und Film deutsch-türkischer Künstlerinnen und Künstler. Bielefeld: Transcript, 2012.

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Cumhuriyet döneminde tarihî tiyatro. Kızılay, Ankara: Alp Yayınevi, 2008.

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Tiyatroda üçüncü göz eleştiri: Eleştirinin tarihsel süreci ve oyun eleştirileri. Konya: L-T (Literatürk), 2012.

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Sekmen, Mustafa. Meddah ve gösterisi. Eskişehir: T.C. Anadolu Üniversitesi, 2008.

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Sekmen, Mustafa. Meddah ve gösterisi. Eskişehir: T.C. Anadolu Üniversitesi, 2008.

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Book chapters on the topic "Turkish Theatre"

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Stewart, Lizzie. "Project Report: Postmigrant Theatre from Germany : Neco Çelik, University of Edinburgh 5th–6th May 2015." In Turkish-German Studies, 149–54. Göttingen: V&R unipress, 2016. http://dx.doi.org/10.14220/9783737005517.149.

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Vitkus, Daniel. "Machiavellian Merchants: Italians, Jews, and Turks." In Turning Turk: English Theater and the Multicultural Mediterranean, 1570–1630, 163–98. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-05292-6_6.

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Cimmieri, Valeria. "The Performative Power of Diplomatic Discourse in the Italian Tragedies Inspired by the Wars Against the Turks." In Early Modern Diplomacy, Theatre and Soft Power, 93–112. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-43693-1_5.

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Vitkus, Daniel. "Marlowe’s Mahomet: Islam, Turks, and Religious Controversy in Tamburlaine, Parts I and II." In Turning Turk: English Theater and the Multicultural Mediterranean, 1570–1630, 45–75. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-137-05292-6_3.

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Head, Matthew. "Orientalism, History and Theatre." In Orientalism, Masquerade and Mozart’s Turkish Music, 19–49. Routledge, 2018. http://dx.doi.org/10.4324/9781315090238-2.

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Takkaç, Mehmet, and A. Kerin Dinç. "Educational and critical dimensions in Turkish shadow theatre: The Karagöz Theatre of Anatolia." In Insights in Applied Theatre: The Early Days and Onwards, 251–68. Intellect Books, 2022. http://dx.doi.org/10.1386/9781789385243_18.

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Schneider, Annedith. "Home and back again: texts and contexts in the Kebab Show theatre troupe." In Turkish Immigration, Art and Narratives of Home in France, 45–60. Manchester University Press, 2016. http://dx.doi.org/10.7228/manchester/9781784991494.003.0003.

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Kashirin, Vasili B. "«A correct description of the bygone war»: previously unknown strategic memorandum by the General en chef, Count Petr Panin and the unraveled mystery of authorship of the anonymous memoirs about the Russo-Turkish War of 1736–1739." In Russia: A Look at the Balkans. Eighteenth - Nineteenth Centuries. On the 100th anniversary of Irina S. Dostyan's, 95–164. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/2618-8570.2021.03.

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The article for the first time introduces into scientific circulation a valuable historical document ― the second part of the well-known memoir of a participant in the Russo-Turkish war of 1736–1739 under the title “Zapiska o tom skol’ko ya pamiatuyu o krymskih I turetskih pohodah” (“A note about how much I remember about the Crimean and Turkish campaigns”). The second part of the document discovered in the archive is a generalisation of the military experience of fightings against the Turkish and Tatar troops, and contains specific proposals for the operations of the Russian army at the beginning of the Russo-Turkish war of 1768–1774. This discovery made it possible to prove that the author of both parts of the document is an outstanding military figure, General en Chef, Count Petr Panin (1720–1789). The article proves that the document was drawn up by him at the end of 1768 to reinforce Panin's position in developing military strategy of the Russian Empire in the fight against Turkey. As the analysis of the document shows, Panin was a supporter of active offensive actions in the Dniester theatre of war, in particular, the preventive occupation of Polish fortresses in that area. Among other things, the established authorship of the document sheds light on the early stage of Petr Panin's military career and the circumstances of his participation in the Russo-Turkish war of 1736–1739. The full text of the document is published in the appendix to the article for the first time.
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Purdy, Strother. "SEMIOTIC ASPECTS OF THE BAROQUE, THE BALLET, AND THE TURKISH RELATION (1610–1761)." In Ottoman Empire and European Theatre V: Gluck and the Turkish Subject in Ballet and Dance, 145–58. Hollitzer, 2019. http://dx.doi.org/10.2307/j.ctvzsmcx1.9.

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"Front Matter." In Ottoman Empire and European Theatre V: Gluck and the Turkish Subject in Ballet and Dance, 1–4. Hollitzer, 2019. http://dx.doi.org/10.2307/j.ctvzsmcx1.1.

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Conference papers on the topic "Turkish Theatre"

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Ismail, Salah. "The Hidden Heritage of Ankara Citadel: an Ambigous Future between Conservation and Transformation." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.223.

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Although Ankara gained international attention mainly after its declaration as Capital of the Turkish Republic in 1923, the city hosts many buildings and monuments from different historical eras. The remains of Roman, Byzantine, Seljuk and Ottoman Empires discovered in the center of the city, clearly bear witness to the rich and diverse heritage of the capital. However, this heritage appears as less documented, studied and even not properly conserved. The citadel of Ankara, which dominates the narrow streets of the old city has withstood its long history very well and today houses a small neighborhood made up of valuable Ottoman wooden buildings. The link to the Roman and Medieval periods is still tangible. The Roman theatre remains at the foot of the hill are still observable, while the stone columns and beams used in the construction of the walls in a later era. The aim of this paper is to document and present the different historical eras of the castle, focusing on the remains of the medieval era. Analyzing the key features of the castle and the previous intervention on it will support the identification of the potentials of the site. Finally, recommendations for future work of architectural preservation will be elaborated on the basis of national and international conservation guidelines.
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You might also be interested in the extended bibliographies on the topic 'Turkish Theatre' for particular source types:
Journal articles Books
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