To see the other types of publications on this topic, follow the link: Turkish Theatre.
Journal articles on the topic 'Turkish Theatre'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Turkish Theatre.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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 ...
2
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.
Full textAbstract:
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.
3
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.
Full text
4
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.
Full text
5
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.
Full text
6
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.
Full text
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Temel, Tamer. "THE CARRIER POWER OF TURKISH MODERNIZATION: THEATRE." Idil Journal of Art and Language 5, no. 26 (October 31, 2016): 1763–76. http://dx.doi.org/10.7816/idil-05-26-10.
Full text
12
Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.
Full textAbstract:
The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.
13
Adishirinov, Kamil. "The influence of the Sheki theatre in the formation of the literary-cultural environment in Sheki in the 50-90s of the XX century." Scientific Bulletin 1, no. 1 (2021): 99–109. http://dx.doi.org/10.54414/vfxf4500.
Full textAbstract:
The article discusses the role of the Sheki Theater in the development of literary and cultural ties among the Azerbaijani, Russian, Tatar, Hungarian and Turkish peoples who have ancient and rich traditions. The researcher has taken the tours of the Sheki Theatre, which is one of the administrative parts of the Azerbaijan Theater in the 50s and 90s of the XX century, to Moscow, Tashkent and Istanbul as a main object and analyzed the achievements and failures in this area. The author's analysis also focuses on strengthening the state's care for the development of the Sheki Theater, the theater's professional performance, and the role of the plays on repertoire in the promotion of moral education, family relations, and patriotic education. The author also highlights the activities of Mammadkabir Hajioglu, Huseynaga Atakishiyev, Jahangir Novruzov, Nazim Bilalov and Mirbala Salimli, who worked as directors of the theater in different years, which was aimed at the development of literary and cultural relations between Russian, Tatar, Turkish and other peoples. One of the most important qualities that ensure the scientific nature of the article is the mentioning of valuable opinions about the high appreciation of the activities of the Sheki Theater by prominent Russian and Azerbaijani theater critics. The article also highlights the role of the Sheki Theater in the development of Azerbaijani culture and literature and its integration into the world and in the promotion of Azerbaijani culture among Tatars, Turks and other peoples, especially the development of literary and cultural relations between Russia and Azerbaijan. The article also discusses the decline in the performance of the Sheki Theater caused by socio-political events of the late twentieth century, and the cultural policy pursued by President Ilham Aliyev to regulate the activities of the theater and the country's cultural development. Comparison and analysis methods have been used in the scientific analysis process to obtain the required results.
14
ÖZBIRINCI, PÜRNUR UÇAR. "Intercultural Theatre? A Streetcar Named Desire on the Turkish Stage." Theatre Research International 33, no. 1 (March 2008): 70–83. http://dx.doi.org/10.1017/s0307883307003409.
Full textAbstract:
The controversial theory of intercultural performance covers a wide range of theatrical practices, which intend to adapt subject matter and situations from one culture to another. This intention mainly involves a transportation and translation of elements and perspectives across cultures. The translator, the audience or reader, and the director fill in the gaps that are formed during this transportation and translation with their own interpretations, in accordance with the culture they inhabit. However, intercultural performance requires conscious attempts to merge two different cultures. Such attempts should not be done solely for the ‘target’ culture's audience but should also regard the perceptions of the ‘source’ culture as much as possible. In light of this, Turkish State Theatre's director Ferdi Merter's production of A Streetcar Named Desire is analysed in order to locate the distinct changes the Turkish interpretation of the play has incorporated.
15
Gezen, Ela. "Integration, Turkish Theatre, and Cultural-Political Interventions in West Berlin: Vasıf Öngören's Kollektiv Theater (1980–82)." Comparative Drama 52, no. 3-4 (2018): 301–21. http://dx.doi.org/10.1353/cdr.2018.0013.
Full text
16
Nagy, Miklós Mihály. "Az Erdélyi Fejedelemség önállóságának földrajzi alapjai." Jelenkori Társadalmi és Gazdasági Folyamatok 5, no. 1-2 (January 1, 2010): 208–13. http://dx.doi.org/10.14232/jtgf.2010.1-2.208-213.
Full textAbstract:
The end of the Turkish Empire's territorial expansion in Southern Europe was one of the determining phenomenons of territorial development in the continent in the 16th— 17th century. This geographical process had an attendant phenomenon as buffer states emerged in the borders of the Empire from which Transylvania was the key element. The sovereign Transylvania located out of the main theatre of the Habsburg-Turkish conflict constituted a closed politico-geographical and geopolitical unit in the Carpathian basin. The sovereignty and the important historical role of the Principality were determined by geographical factors. The study is about these factors and geographical powers of the Transylvanian basin with close connections to other military-geographical factors of Habsburg-Turkish conflict.
17
Gürata, Ahmet. "Tears of Love: Egyptian Cinema in Turkey (1938–1950)." New Perspectives on Turkey 30 (2004): 55–82. http://dx.doi.org/10.1017/s0896634600003915.
Full textAbstract:
When the movie [Domu' al-hubb (Tears of Love) (Turkish title: Aşkın Gözyaşları) (Muhammad Karim, 1936)] was first released in Istanbul's Şehzadebaşı district, the movie theatre's windows were broken and the traffic was jammed [because of the crowd]. The audience, who had not been able to watch any Turkish films for the last three years, loved this type of movie, which was not much different from those made by our theatre artists, and starring some Arab singers, and people wearing the fez and local dress (Özön 1962a, p. 760).
18
Khodorov, Oleg Igorevich. "The role of the steamship “Grand Duke Konstantin” in the liberation of Abkhazia and forced crossing of the Gagra Gorge by the Sochi detachment in August 1877." Genesis: исторические исследования, no. 4 (April 2021): 112–30. http://dx.doi.org/10.25136/2409-868x.2021.4.32728.
Full textAbstract:
The object of this research is the military actions on the Caucasus-Asia Minor Theatre of the Russo-Turkish War in 1877. The subject is the participation of the steamship “Grand Duke Konstantin” under the command of Stepan Osipovich Makarov in the liberation of Abkhazia from Turkish occupation and aid to the Sochi detachment of Shelkovnikov Boris Martynovich in forced crossing the Gagra Gorge. The goal of this research lies in comprehensive examination of the actions of Makarov and his team during cruising at the east coast of the Black Sea, as well as in determination the role and importance of their participation in the military actions in the beginning of August 1877. The conclusion is made that successful actions of Makarov helped the Sochi detachment to avoid heavy losses in Gagra; and that damages inflicted on the Turkish warship “Asar-i Tevfik” during Makarov’s night attack suspended it from evacuation of the Turks from Sukhumi. The reconstruction of the results of torpedo attack and comparison of the tactical and technical characteristics of ships draw particular interest. The author concludes that the Turkish warship that attacked by Makarov at Gagra, was not “Asar-i Şevket”, as described in the pre-revolutionary, Soviet and modern Russian historiography.
19
Helvacı, Ayhan. "The Role of Music in the Shadow Play "Hacivat and Karagöz"." European Journal of Social Sciences Education and Research 2, no. 1 (December 30, 2014): 64. http://dx.doi.org/10.26417/ejser.v2i1.p64-67.
Full textAbstract:
The shadow play Hacivat and Karagöz has become an important part of the Traditional Turkish Theatre continuing for centuries. The existing shadow play which still preserves its popularity has become a significant entertainment tool for people. According to the local features of the performed characters and the content of the topic, this art type carried out by reflecting on a screen specially designed puppets from behind a lightened curtain and by playing with the voice of the performer has various music types and its instruments, especially Turkish folk music and Turkish classical music. in this study, within the play, the role of the music which is thought to form an important part of the shadow play was researched and the music and instruments used were analysed. The effect and role of the music within the play was particularly tried to be put forward.
20
Akdede, Sacit Hadi, and Ayla Ogus. "Increasing returns to information and the survival of Turkish public theatre plays." Applied Economics Letters 13, no. 12 (October 10, 2006): 785–88. http://dx.doi.org/10.1080/13504850500407533.
Full text
21
Ozturk, Serdar. "Karagoz Co-Opted: Turkish Shadow Theatre of the Early Republic (1923-1945)." Asian Theatre Journal 23, no. 2 (2006): 292–313. http://dx.doi.org/10.1353/atj.2006.0027.
Full text
22
Schewe, Manfred. "Theatre and Obstinacy – a Friend’s Perspective." Scenario: A Journal of Performative Teaching, Learning, Research IX, no. 1 (January 1, 2015): 144–47. http://dx.doi.org/10.33178/scenario.9.1.9.
Full textAbstract:
If somebody living in Dublin and preparing a solo-performance for an academic audience in Cork retreats to a location in Berlin to rehearse for his upcoming show – isn’t that somewhat peculiar? One evening in the winter of 1801 I met an old friend in a public park.2 That is the beginning of the text my friend Peter was reciting as he strolled through the Kleistpark in Berlin. I imagine the way he circles, at a leisurely pace, around the green, time and again pausing at a verge or under one of the mighty beech-trees to practise a gesture or test a graceful move. Each movement, he told me, has its centre of gravity; it is enough to control this within the puppet. The limbs, which are only pendulums, they follow mechanically of their own accord, without further help.3 Walkers, joggers and Turkish women and children sitting on the grass and having their picnic catch the odd word or sentence and may wonder about this elderly gentleman in an Irish sweater. During his days in Berlin, Peter will be fully absorbed in his studies of Kleist’s On the Marionette Theatre (1810) and he will scrutinise each word (e.g. ‘rapier’or ‘vis ...
23
FİŞEK, EMİNE. "Whose Crisis? Syrian Refugees and the Turkish Stage." Theatre Research International 47, no. 1 (February 18, 2022): 28–45. http://dx.doi.org/10.1017/s0307883321000481.
Full textAbstract:
Since the eruption of the Syrian civil war in 2011, the arrival of refugees in Turkey has been unprecedented in the country's history. Theatre practitioners have been slow to address this migratory moment, but an exception has been Istanbul-based Dostlar Tiyatrosu's 2017 production Göçmenleeeer, a translation of Romanian–French playwright Matéi Visniec's Migraaaants. Developed in the context of Europe's own migratory ‘crisis’, Migraaaants is composed of a series of vignettes that critique European refugee policy and the deadly economies that it has prompted in the continent's borderlands. What happens when Migraaaants is produced in a national context where the binary of European ‘hosts’ and non-European ‘refugees’ gives way to another set of political identities? How do we assess the emergence of a shared paradigm of ‘crisis’? And finally, where does crisis stand in relation to our ability to imagine a transnational aesthetics of political resistance to anti-immigration policies?
24
Schneider, Annedith. "Home and back again: Texts and contexts in Turkish immigrant theatre in France." Crossings: Journal of Migration & Culture 4, no. 2 (October 1, 2013): 175–86. http://dx.doi.org/10.1386/cjmc.4.2.175_1.
Full text
25
Öner-Özkan, Beng. "Known-Groups Validity of the Translated Version of Self-Monitoring: A Comparison of Conservatoire Students and University Students." Psychological Reports 100, no. 3_suppl (June 2007): 1113–14. http://dx.doi.org/10.2466/pr0.100.4.1113-1114.
Full textAbstract:
The aim of this study was to test the known-groups validity of the Turkish translation of Snyder's 1974 Self-monitoring Scale by administering a translated version to 151 first-year university students (85 men, 66 women) and 39 first year conservatoire students from the School of Theatre (18 men, 21 women). The mean score of the latter group was higher than the mean for regular university students. The finding was regarded as an indicator of known-groups validity.
26
VERSTRAETE, PIETER. "In Search of a New Performativity after Gezi: On Symbolic Politics and New Dramaturgies in Turkey." Theatre Research International 44, no. 3 (October 2019): 273–90. http://dx.doi.org/10.1017/s0307883319000312.
Full textAbstract:
This article is an adapted version of a text originally published in Turkish in the historical materialist journal PRAKSIS in 2016, and translated into English by the author.1 It focuses on performative protest acts and the role of the performing artist in Turkey in the context of the Gezi Park uprisings of 2013. The article examines how some of Gezi's performative protest actions evidence a larger cultural transformation, of which we can see a continuation in new theatre playtexts.
27
Gezen, Ela. "BRECHT ON THE TURKISH STAGE: ADAPTATION, EXPERIMENTATION, AND THEATRE AESTHETICS IN GENCO ERKAL'SDOSTLAR TIYATROSU1." German Life and Letters 69, no. 2 (March 7, 2016): 269–84. http://dx.doi.org/10.1111/glal.12117.
Full text
28
ŞENGÜL, Abdullah. "ÇEVİRİ VE TİYATRO: MOLİÉRE ÇEVİRİLERİNİN TÜRK TİYATROSUNA ETKİSİ (Translation and Theatre: The Impact of Translations of Moliére’s Literary Works on Turkish Theatre)." Nevşehir Hacı Bektaş Veli Üniversitesi SBE Dergisi 10, no. 1 (June 11, 2020): 78–87. http://dx.doi.org/10.30783/nevsosbilen.685124.
Full text
29
Topçu, Hayrunisa. "Romandan Tiyatroya: Değirmen - Sarıpınar 1914 / From Novel to Theatre: Degirmen - Saripinar 1914." Journal of History Culture and Art Research 6, no. 4 (October 1, 2017): 960. http://dx.doi.org/10.7596/taksad.v6i4.1046.
Full textAbstract:
<p><strong>Abstract</strong></p><p>Reşat Nuri Güntekin is one of the prolific author of Turkish Literature. He owns a lot of literary works within novel and theatre play genres. He cogitated about all components of theatre from decor, till play writer and he wrote many articles. His study on this field was continued by other authors in the following years. Turgut Özakman is a writer who, like Reşat Nuri, has been thought over play writing and studied on theoretical part of theater. The novel named <em>Değirmen </em>which was published in 1944 by Reşat Nuri, was adapted to theater by the name of <em>Sarıpınar 1914</em> by Turgut Özakman. The play was first staged by Ankara Sanat Tiyatrosu on 16 February 1968.</p><p>With the increasing interdisciplinary studies in recent years, the concept of adaptation has attracted the attention of researchers from almost every field. Therefore, the studies adapted from novel to theater have been discussed again with a new point of view. In this article named<em> Romandan Tiyatroya: Değirmen / Sarıpınar 1914,</em> Reşat Nuri’s novel <em>Değirmen</em> and Turgut Özakman’s theatre play <em>Sarıpınar 1914</em> will be evaluated in the framework of the “adaptation theory”. It will be discussed the differences between the novel and theatre play and also reasons of the differences with the comparative evaluations made on the concept of plot, character, time and place.</p><p> </p><p><strong>Öz</strong></p><p>Reşat Nuri Güntekin, Türk edebiyatının en üretken yazarlarından biridir. Özellikle roman ve tiyatro türünde birçok eseri vardır. Tiyatro konusunda dekordan oyun yazarlığına kadar her alanda kafa yormuş ve bu konuda birçok makale yazmıştır. Onun bu alanda yürüttüğü çalışmalar sonraki yıllarda başka yazarlar tarafından da devam ettirilmiştir. Turgut Özakman da tıpkı Reşat Nuri gibi oyun yazarlığı ile meşgul olmuş ve tiyatronun kuramsal kısmı üzerinde çalışmış bir yazardır. Reşat Nuri’nin 1944’te yayımlanan<em> Değirmen </em>isimli romanı, Turgut Özakman tarafından<em> Sarıpınar 1914</em> adıyla tiyatroya uyarlanmıştır. Oyun ilk kez 16 Şubat 1968 tarihinde Ankara Sanat Tiyatrosu tarafından sahnelenmiştir.<em> </em></p><p>Son yıllarda disiplinler arası çalışmaların artmasıyla birlikte uyarlama kavramı neredeyse her alandan araştırmacıların dikkatini çekmektedir. Dolayısıyla romandan tiyatroya aktarılan eserler de yeni bir bakış açısıyla tekrar ele alınmaya başlanmıştır. <em>Romandan Tiyatroya: Değirmen / Sarıpınar 1914 </em>adlı makalede Reşat Nuri Güntekin’in <em>Değirmen </em>isimli romanı ve Turgut Özakman’ın <em>Sarıpınar 1914</em> adlı tiyatro oyunu, “uyarlama kuramı” çerçevesinde değerlendirilecektir. Özellikle olay örgüsü, kişiler, zaman, mekân kavramları üzerinden yapılacak karşılaştırmalı değerlendirmelerle, iki eser arasındaki farklılıkların nedenleri ve bu farklılıkların uyarlanan eser üzerindeki etkileri tartışılacaktır. </p>
30
DRAZ, AYŞE. "Performing in a Landscape of Forgetting." Theatre Research International 44, no. 3 (October 2019): 311–13. http://dx.doi.org/10.1017/s0307883319000385.
Full textAbstract:
In the summer of 2018, the theatre company Hemhâl, which I co-founded with Nezaket Erden and Hakan Emre Ünal, travelled to a small village in southern Turkey. The main reason for our trip was to realize Nezaket's dream of taking her widely acclaimed solo performance, Dirmit, Dear Shameless Death, to the village where her extended family live. Furthermore, we thought that this performance could resonate with the villagers since it is an adaptation of a Turkish novel by Latife Tekin which talks about the struggles and internal conflicts of a migrant family moving from a small rural village to the big city.
31
FOUSKAS, VASSILIS K. "Uncomfortable Questions: Cyprus, October 1973–August 1974." Contemporary European History 14, no. 1 (February 2005): 45–63. http://dx.doi.org/10.1017/s0960777304002140.
Full textAbstract:
Scholarly research to date has analysed the Cyprus issue from the perspective of Greek–Turkish relations, suggesting that the United States was attempting to strike a balance between them in order to safeguard the cohesion of NATO's southern flank during the cold war. This article, without undermining the validity of previous historical findings on the issue, nevertheless constitutes an attempt to move towards a differing research agenda: it locates Cyprus in the Middle Eastern theatre and suggests that the Yom Kippur war of October 1973 may have more linkages to the Cyprus crisis of summer 1974 than one may at first sight discern.
32
Diamond, Catherine. "Burmese Nights: the Pagoda Festival Pwe in the Age of Hollywood's ‘Titanic’." New Theatre Quarterly 16, no. 3 (August 2000): 227–48. http://dx.doi.org/10.1017/s0266464x00013865.
Full textAbstract:
The Burmese zat pwe, an exuberant variety show involving almost every kind of performing art, has fascinated foreign visitors to Myanmar for the past hundred years. It continues today as a vibrant amalgam of singing, dancing, acting, and comic improvisation, still performed annually at pagoda festivals. As Burmese scholars have noted, the Burmese performer is primarily a singer and dancer rather than a dramatic actor, and therefore tends to use plays as frameworks for demonstrating virtuosity in these areas. This is reinforced by the training given at the two State Schools of Music and Dance, and while the Drama Department at the University of Culture does acquaint students with dramatic acting, the emphasis remains on music and dance. Moreover, the scripted drama, especially the classical drama, which reached a peak in the mid-nineteenth century, is increasingly omitted from the pwe programme, having gradually been displaced by the pop music that is considered necessary to attract young audiences. Despite such changes, which alarm traditionalists, the pwe performance has shown a resilient flexibility to adapt to audience preferences and remains a lively highlight at the festivals. Catherine Diamond – who has previously written for NTQ on Vietnamese and Turkish theatre, and on oriental approaches to classical tragedy – is a dancer and drama professor who is currently directing for the Thalie Theatre, the only English-language theatre in Taiwan.
33
Güçbilmez, Beliz. "An Uncanny Theatricality: the Representation of the Offstage." New Theatre Quarterly 23, no. 2 (May 2007): 152–60. http://dx.doi.org/10.1017/s0266464x07000059.
Full textAbstract:
In this article, Beliz Güçbilmez argues that ‘offstage’ is not a place but an idea, a world minus a stage. It is ‘anywhere but here’, and its time is time-minus-now, making it impossible to determine its scale. It is a foreign tongue – a language with an unknown grammar carrying us to the borders of the uncanny. Güçbilmez rereads the offstage as the unconscious of the stage, looking at its more conventional use in the realistic and naturalistic plays of the nineteenth century and after, but also looking forward to the work of Samuel Beckett. Borrowing from Blanchot's interpretation of the Orpheus-Eurydice myth, she characterizes the Beckettian struggle to represent the unrepresentable as the act of bringing Eurydice into daylight – the invisible content of the offstage onto the stage, which is by definition the space of the gaze. Beliz Güçbilmez is an author, playwright, and translator, currently working as an Assistant Professor in the Theatre Department of Ankara University in Turkey. She is the author of Irony and Drama from Sophocles to Stoppard (Ankara: Deniz, 2005) and Time, Space and Appearance: the Form of Miniature in the Turkish Realist Theatre (Ankara: Deniz, 2006). A shorter version of this article was presented at the Working Group of the International Federation for Theatre Research (FIRT/IFTR) at its 2005 meeting in Krakow.
34
Flores, Alexander. "Offenbach in Arabien." Die Welt des Islams 48, no. 2 (2008): 131–69. http://dx.doi.org/10.1163/157006008x335912.
Full textAbstract:
AbstractTwice, the theatre of Jacques Offenbach exerted a marked influence on musical theatre in Egypt. The first occasion was a number of performances of his most popular opéra-bouffes, in French and by French artists, around 1870. The ruler, Ismā'īl, tried to introduce European culture in Egypt and gave Offenbach's work a central role in that endeavour. With Ismā'īl's decline, that attempt was discontinued. The second appearance occurred in 1920/21. Then, two of the most popular musical comedies of the famous Egyptian composer Sayyid Darwīš had Offenbach's works as their sources. These works were translated into Egyptian Arabic, given an oriental setting and an Egyptian colour, e.g. by having the lyrics written by popular Egyptian poets. The main message of the original pieces—attacking the military and the authorities in general by ridiculing them—was changed by introducing a clear anti-Turkish thrust, thus castigating the aristocracy ruling Egypt at the time of the adaptation and, by implication, the British occupation. Whereas the text of the Egyptian pieces was quite closely inspired by the French originals, the music shows no signs of direct influence by Offenbach—it is vintage Sayyid Darwīš. The article also sheds some light on the musical theatre of the brothers Rahbānī in Lebanon that has not been directly inspired by Offenbach but exhibits a spirit quite close to his and thus lends itself to a comparison.
35
YÜCEIL, ZEYNEP GÜNSÜR. "An Obscure Performance in Life and Education." Theatre Research International 44, no. 3 (October 2019): 305–7. http://dx.doi.org/10.1017/s0307883319000361.
Full textAbstract:
After the military intervention of 1980, Turkey's intellectual and social democrats were devastated – imprisoned, escaped to exile, silenced, killed – in the hands of the coup d’état and all the prohibitions that came with it until the first half of the 1980s. Then the famous Turgut Özal government with its unprecedented liberal economic policies came into the picture. Towards the end of the 1980s, a new generation of theatre and performance artists started to stage their response to all this madness and became visible to older generations who had long lost hope and vitality in terms of artistic and humanitarian production. I had the chance to get involved in this artistic endeavour through some of the emerging initiatives, such as Green Grapes Dance Company, Bilsak Theatre Company, Şahika Tekand, Kumpanya, Dance Factory, DAGS (Interdisciplinary Young Artists Association), Hüseyin Katırcıoğlu and Assos Theatre Festival. The works were relentless and new. Bodies were in need of fresh air, and artistic expression in performance did not follow the traditional routes or accepted notions while fully embracing the possibility of not being seen. Actually, the emerging artists did not give a damn. Interestingly – or obviously – enough, most of them were outcasts coming from other fields such as sociology, literature, engineering, law and so on. In relation to this, the artistic and performative visions they put forward were truly interdisciplinary. The contemporary visual art scene and performing arts were in an honest conversation perhaps for the first time in Turkish art history.
36
Stone, James. "Reports from the Theatre of War. Major Viktor von Lignitz and the Russo-Turkish War, 187778." Militärgeschichtliche Zeitschrift 71, no. 2 (December 2012): 287–307. http://dx.doi.org/10.1524/mgzs.2012.0010.
Full text
37
Güvenç, Sıla Şenlen. "‘Yae, Nae, or Dinnae Ken’: Dramatic Responses to the Scottish Referendum and Theatre Uncut." New Theatre Quarterly 33, no. 4 (October 11, 2017): 371–85. http://dx.doi.org/10.1017/s0266464x17000501.
Full textAbstract:
In this paper Sıla Şenlen Güvenç surveys the key plays staged in the run-up to the Scottish Independence Referendum of September 2014, with special emphasis on the six Theatre Uncut plays – Rob Drummond's Party Pieces, A. J. Taudevin's The 12.57, and Lewis Hetherington's The White Lightning and the Black Stag (composed in 2013), and Davey Anderson's twin plays, Fear and Self-Loathing in West Lothian and Don't Know, Don't Care, and Kieran Hurley's Close from 2014. Written prior to the referendum and performed together for the first time at the Edinburgh Fringe Festival in 2014, these plays became even more meaningful with developing events in the United Kingdom, especially Brexit and the potential for a second independence referendum in Scotland. The plays reflect many of the issues discussed in both the ‘Yes Scotland’ and ‘Better Together’ campaigns. Sıla Şenlen Güvenç is currently Associate Professor at Ankara University's Department of English Language and Literature. Besides articles and theatre reviews on English drama, she is the author of ‘Words as Swords’: Verbal Violence as a Construction of Authority in Renaissance and Contemporary English Drama (2009) and ‘The World is a Stage, but the Play is Badly Cast’: British Political Satire in the Neo-classical Period (in Turkish, 2014).
38
Kashirin, Vasily B. "Lieutenant-Colonel Nazar Karazin in the Danubian Principalities on the Eve and at the Beginning of the Russian-Turkish War of 1768–74." Slavic World in the Third Millennium 16, no. 1-2 (2021): 109–34. http://dx.doi.org/10.31168/2412-6446.2021.16.1-2.06.
Full textAbstract:
In this article, which is based on unpublished materials from the Russian archives and Romanian sources which are practically unknown in Russia, the activities of Russian Lieutenant-Colonel Nazar Aleksandrovich Karazin are described. Karazin was a secret emissary of Empress Catherine II in the Principality of Wallachia at the beginning of the Russian-Turkish War of 1768–74, and later the commander of an independent partisan detachment with a special assignment in the Danube theatre of war, acting separately from the main forces of the Russian army. Based on the new material, this article clarifies the geography and chronology of Karazin’s walking trip (in the guise of a pilgrim monk) to Bucharest in the spring of 1769. Moving through Galich on the Dniester and via the Great Skete Monastery (Manyavsky Holy Cross Monastery) in the region of Pokutie, Karazin arrived in the town of Suceava on 4 April, from where he travelled to Wallachia through Austrian Transylvania, crossing the Carpathian Mountains twice. On 7 May, 1769, he arrived in Bucharest, and then, having established contact with the leadership of the pro-Russian party of Wallachia, on 19 May moved back and arrived at the camp of the main forces of the Russian 1st Army near Derazhnya on 2 June, 1769. After that, Karazin, in accordance with his instructions, remained at the headquarters of the 1st Army commander, Prince A. M. Golitsyn, during the summer campaign. On 10 September, 1769, after the capture of the Khotin fortress by the Russian army and the retreat of the Turks from Moldova, Karazin, on behalf of Golitsyn, again set off at the head of a detachment of Arnauts (mercenaries of Balkan origin who had switched to the Russian side) to the town of Fokshany on the border between Moldavia and Wallachia, with a mission to raise an anti-Turkish uprising. His detachment played an important role in organizing the insurrectionary movement in the northeastern part of Wallachia and the expulsion of the Turks from Bucharest in early November 1769, and then in the defense of the capital of Wallachia during the counter-offensives of the Ottoman forces in December 1769 and January 1770. The content of the article refutes the family narratives about N.A. Karazin and his adventures during the war years, which contain factuallyinaccurate information.
39
Marković, Tatjana. "Ottoman legacy and Oriental Self in Serbian opera." Studia Musicologica 57, no. 3-4 (September 2016): 391–402. http://dx.doi.org/10.1556/6.2016.57.3-4.7.
Full textAbstract:
Serbia was an Ottoman province for almost four centuries; after some rebellions, the First and Second Uprising, she received the status of autonomous principality in 1830, and became independent in 1878. Due to the historical and cultural circumstances, the first stage music form was komad s pevanjem (theater play with music numbers), following with the first operas only at the beginning of the twentieth century. Contrary to the usual practice to depict “golden age” of medieval national past, like in many other traditions of national opera, the earliest Serbian operas were dedicated to the recent past and coexistence with Ottomans. Thus the operas Na uranku (At dawn, 1904) by Stanislav Binički (1872–1942), Knez Ivo od Semberije (Prince Ivo of Semberia, 1911) by Isidor Bajić (1878–1915), both based on the libretti by the leading Serbian playwright Branislav Nušić, and also Zulumćar (The Hooligan, librettists: Svetozar Ćorović and Aleksa Šantić, 1927) by Petar Krstić (1877–1957), presented Serbia from the first decades of the nineteenth century. Later Serbian operas, among which is the most significant Koštana (1931, revised in 1940 and 1948) by Petar Konjović (1883–1970), composed after the theatre play under the same name by the author Borisav Stanković, shifts the focus of exoticism, presenting a life of a south-Serbian town in 1880. Local milieu of Vranje is depicted through tragic destiny of an enchanting beauty, a Roma singer Koštana, whose exoticism is coming from her belonging to the undesirable minority. These operas show how the national identity was constructed – by libretto, music and iconography – through Oriental Self. The language (marked by numerous Turkish loan words), musical (self)presentation and visual image of the main characters of the operas are identity signifiers, which show continuity as well as perception of the Ottoman cultural imperial legacy.
40
ERKAZANCI DURMUŞ, Hilal. "Discourses on Hamlet's Journey in Turkey." TranscUlturAl: A Journal of Translation and Cultural Studies 12, no. 1 (August 6, 2020): 119–38. http://dx.doi.org/10.21992/tc29464.
Full textAbstract:
This study seeks to scrutinize extratextual discourses which frame the Turkish translations and post-translation rewritings of Hamlet as an instrument of national self-imagining and projecting Turkey’s self-image in different socio-political and historical contexts. The study points out that various discourses see image construction as the major motive behind the different versions of Hamlet in Turkey. It also underlines that the extratextual material surrounding the retranslations and rewritings focus on various contextual dynamics that reveal how Turkey is torn between dualities that frame its image in line with the narratives of modernity and tradition, secularism and religion, easternness and westernness. In this context, the study emphasizes that theatre translation, and particularly the translations of Hamlet, formed significant part of the late Ottoman Empire’s and modern Turkey’s westernization efforts. Ultimately, the study concludes that discourses on the Hamlet renderings have foregrounded what is and what is not part of Turkey’s historically constructed self-image by bringing the West alongside the East, centering on how the retranslations and rewritings promote Turkey’s Western (secular and modern) identity against a largely negative representation of its eastern cultural identity.
Key words: Hamlet, Turkey, retranslation, post-translation rewriting, image
41
Perenič, Urška. "IVAN KUKULJEVIĆ SAKCINSKI U SLOVENSKOJ PRIJEVODNOJ KNJIŽEVNOJ KULTURI SREDINOM 19. STOLJEĆA: JURAN I SOFIJA ILI TURCI KOD SISKA I OBLIKOVANJE SLOVENSKOGA NACIONALNOG IDENTITETA." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 63, no. 1-2 (March 19, 2020): 33–49. http://dx.doi.org/10.22210/ur.2019.063.1_2.02.
Full textAbstract:
IVAN KUKULJEVIĆ SAKCINSKI IN THE CULTURE OF MIDNINETEENTH-CENTURY SLOVENE LITERARY TRANSLATION: JURAN AND SOFIA, OR THE TURKS AT SISAK AND THE FORMATION OF THE SLOVENE NATIONAL IDENTITY In 1850, Ivan Kukuljević Sakcinski’s Illyrian-Croatian plays Juran i Sofija ili Turci kod Siska (Juran and Sofija, or the Turks at Sisak, 1839) and Stjepko Šubić ili Bela IV. u Horvatskoj (Štepan Šubic, or Bela IV in Croatia, 1841) were published in Slovene translation in the book Dve igri za slovensko glediše (Two Plays for the Slovene Theatre). First, the paper considers the plays in a wider context of contemporary Slovene-language drama of the same period, and then in a somewhat narrower context of dramatic works in the Slovene language in (South) Slavic literature, wherein the discussion takes into account the position of these two plays in the developing system of genres of translated drama, since these two works occupy a distinctive place because they representing model heroic plays. Special emphasis is placed on the first play, which is not only Kukuljević’s most well-known work, but was, generally speaking, better received in the Slovene context. This can be explained in a number of ways: 1) due to to specific socio-political conditions (the translation into Slovene is from the period of Bach’s s absolutism marked by increased German pressure on the Slovene and Croatian territory); 2) due to obvious social relevance of the Turkish topic (in the Battle at Sisak the Slovenes and Croatians behave heroically, independently and cooperatively); and 3) due to the play’s specific features, in particular its dramatic personae, setting, and Slavic character (in the play, Toma Erdödy, Juran and Andrej Turjaški act in accordance with Slavic reciprocity, and the setting of the play is Slavic). These features, in turn, enabled identification with the characters and promoted national emancipation. The genre of the heroic play filled the gap in the Slovene literature, which Fran Levstik anticipated in his 1858 Slovene literary programme, which is also the first Slovene programme of this type. Keywords: translation, adaptation, Slovene-Croatian relations, Turk
42
Fantauzzo, Justin. "“Buried Alive”: Experience, Memory, and the Interwar Publishing of the Egyptian Expeditionary Force in Postwar Britain, 1915-1939." Journal of the Canadian Historical Association 23, no. 2 (May 23, 2013): 212–50. http://dx.doi.org/10.7202/1015794ar.
Full textAbstract:
Over 450,000 British soldiers fought as part of the Egyptian Expeditionary Force during the First World War. Between 1915-1918, they fought their way across the Sinai Peninsula, into southern Palestine, captured Jerusalem, and overran the Turkish Army, leading to the surrender of the Ottoman Empire in October 1918. Despite being the war’s most successful sideshow, the Egypt and Palestine campaign struggled to gain popular attention and has largely been excluded from First World War scholarship. This article argues that returning soldiers used war books to rehabilitate the campaign’s public profile and to renegotiate the meaning of wartime service in interwar Britain. The result of sporadic press attention and censorship during the war, the British public’s understanding of the campaign was poor. Periodic access to home front news meant that most soldiers likely learnt of their absence from Britain’s war narrative during the war years. Confronting the belief that the campaign, prior to the capture of Jerusalem, was an inactive theatre of war, British soldiers refashioned themselves as military labourers, paving the road to Jerusalem and building the British war machine. As offensive action intensified, soldiers could look to the past to provide meaning to the present. Allusions to the campaign as a crusade were frequently made and used to compete with the moral righteousness of the liberation of Belgium.
43
Mosusova, Nadezda. "The wedding and death of Milos Obilic: From The Fairy’s veil to The Fatherland." Muzikologija, no. 25 (2018): 119–31. http://dx.doi.org/10.2298/muz1825119m.
Full textAbstract:
The prominent Serbian and Yugoslav composer Petar Konjovic (1883-1970) wrote five operas between 1900 and 1960. Konjovic?s operatic opus represents his homeland and his spiritual spectrum: in the first place, indelible memories of his childhood and youth focused on the Serbian National Theatre in Novi Sad, in particular its heroic repertoire of Serbian literature. Consequently, three out of five of Konjovic?s music dramas are derived from Serbian epic and theatre plays. In addition to Ivo Vojnovic?s Death of the Jugovic Mother, these are Dragutin Ilic?s Wedding ofMilos Obilic and Laza Kostic?s Maksim Crnojevic. Therefore three of Konjovic?s operas can be conditionally brought together as being in many ways related, not only by their content but also by music and the scope of time they were created: The Fairy?s Veil (based on Wedding of Milos Obilic)during World War I, The Fatherland (based on Death of the Jugovic Mother)during World War II, and between them The Prince of Zeta (based on Maksim Crnojevic). The last of them, subtitled ?A sacred festival drama? (following with its subtitle the idea of Wagner?s Parsifal) had its gala performance in Belgrade National Theatre on 19 October 1983. The structure of the musical composition was inspired by the ?Kosovo mystery play? by Vojnovic (1857-1929), an outstanding dramatist from Dubrovnik. In this case, the playwright was a narrator of the historical-legendary past of the Serbs. Drawing on Serbian national epic poetry which deals with the downfall of the Serbian medieval empire caused by the Turkish invasion, Vojnovic constructed his play on the basis of the central poem of the epic cycle about Kosovo, The Death of the Jugovic Mother. Both the epic and Vojnovic?s play present the tragedy of Serbian people in the figure of the Mother. She dies with a broken heart after the loss of her heroic husband, Jug-Bogdan, and her nine sons, the Jugovici, in the decisive battle against the Turks in the Kosovo field in 1389. Vojnovic?s play was performed in Belgrade and Zagreb in 1906 and 1907 respectively, as well as in Trieste (1911) and Prague (1926); and several Serbian and Croatian composers wrote incidental music for it. Slovenian composer Mirko Polic was also inspired by it and his work was performed in Ljubljana in 1947, while Konjovic?s ?festival drama? finished in 1960 was staged much later. Its premiere in 1983 was scrupulously prepared by the father-son duo, Dusan Miladinovic (conductor) and Dejan Miladinovic (director), who paid special attention to the visual aspect of the performance. The director, together with the scenographer Aleksandar Zlatovic created for The Fatherland a semi-permanent set of symbolical characters, with an enormous raven, made of jute, replacing the backdrop. The costume designer was influenced by medieval frescoes from Serbian monasteries in Kosovo. The director himself conceived a ?mute? and motionless appearance of figures of Serbian warriors in ?tableaux vivants? by placing them in attitudes of combat on the edge of the revolving stage during the curtain music between the acts. What the composer Konjovic aimed for with his last music drama was to eternalize in music the beautiful Serbian epic, depicting the tragic history of his people and thus reminding Serbs of their roots. In this sense The Fatherland was Konjovic?s Ninth Symphony and his oath of Kosovo.
44
ŞENGÜL, Abdullah. "Hıstory In Turkısh Theatre." Journal of Turkish Studies Volume 4 Issue 1-2, no. 4 (2009): 1931–87. http://dx.doi.org/10.7827/turkishstudies.605.
Full text
45
Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.
Full textAbstract:
The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvo?zak). These musicians had performed public concerts in Belgrade since 1900 up until Michel?s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski knjizevni glasnik) have been found. Michel?s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel?s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta. Michel paid scrupulous attention to correct diction, as an important part of the vocal technique. As a critic, Gustav Michel was inclined to relatively modern music. He was not strict in his judgments of Serbian performers? and composers? achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians) However his critical assessment of the genre status of the overture to the first Serbian opera, "Na uranku" ("At Dawn") by Stanislav Binicki, revealed an incisive critic. The weak side of his critic lies in too general language not exact enough for characteristics of musical interpretations. However Gustav Michel was a witty and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.
46
Akdede, Sacit Hadi, and John T. King. "Demand for and productivity analysis of Turkish public theater." Journal of Cultural Economics 30, no. 3 (September 28, 2006): 219–31. http://dx.doi.org/10.1007/s10824-006-9014-7.
Full text
47
Kallin, Britta. "Brecht, Turkish Theater, and Turkish-German Literature: Reception, Adaptation, and Innovation after 1960 by Ela Gezen." Feminist German Studies 35, no. 1 (2019): 141–42. http://dx.doi.org/10.1353/fgs.2019.0009.
Full text
48
Micklewright, Nancy. "London, Paris, Istanbul, and Cairo: Fashion And International Trade in the Nineteenth Century." New Perspectives on Turkey 7 (1992): 125–36. http://dx.doi.org/10.15184/s0896634600000534.
Full textAbstract:
This paper is an examination of the relationship between the Anglo-Turkish Convention of 1838 and the transformation in Ottoman women's dress which took place during the nineteenth century. Until now, there has been a tendency to assume a direct cause-and-effect relationship between the Anglo-Turkish Convention and other economic treaties of the period, and fashion. The argument has been that the substantial increase in the volume of imported textiles and other goods led to a change in clothing styles, and indeed to changes in Ottoman taste generally, but my study of Ottoman women's dress indicates that the situation was much more complex. It is clear that the transformation in dress was well under way by the time of the Anglo-Turkish Convention, proceeding at its own rate, tied to events other than the treaty. In this context, fashion represents one of a whole complex of components of culture which, although affected by economic developments, are primarily social phenomena. Examining an area such as fashion (or painting or theater, for instance) will lead to a richer understanding of the period of the Anglo-Turkish Convention.
49
Kaupp, Steffen. "Brecht, Turkish Theater, and Turkish-German Literature: Reception, Adaptation, and Innovation after 1960 by Ela A. Gezen." German Studies Review 42, no. 2 (2019): 407–9. http://dx.doi.org/10.1353/gsr.2019.0067.
Full text
50
Khairullin, T. R. "THE QATARI-TURKISH ALLIANCE AND SAUDI ARABIA: THE STRUGGLE OF ISLAMIST PROJECTS IN SYRIA." Islam in the modern world 14, no. 4 (January 7, 2019): 235–46. http://dx.doi.org/10.22311/2074-1529-2018-14-4-235-246.
Full textAbstract:
The article discusses Islamist projects promoted by Saudi Arabia and the Qatari-Turkish Alliance to strengthen their positions in Syria. The Saudis are focused on conservative Salafi Islamism, while Qatar and Turkey adhere to the moderate ideology of Islamism Muslim Brotherhood. Since the beginning of the crisis, the struggle between the competing forces has been unfolding within the opposition structures (the Syrian National Council, the National Coalition) and in the theater of operations, where there is a support for certain military formations loyal to ‘Pro-Saudi’ or ‘Pro-Qatari’ representatives of the opposition. The struggle of the Qatari-Turkish Alliance and Saudi Arabia has led to a signifi cant weakening of the positions of Qatar and Turkey in the negotiation process, however Doha and Ankara continue to maintain control over numerous armed groups of moderate persuasion.