An event titled “Turkish Theater's Search for Its Own Voice Through Translation” was held by the Üsküdar Üniversitesi Faculty of Humanities and Social Sciences, Department of English Translation and Interpreting within the scope of ‘World Theater Day’ events. At the event, Dr. Öğr. Üyesi Başak Ergil from the Üsküdar Üniversitesi Faculty of Humanities and Social Sciences, Department of English Translation and Interpreting, conveyed the story of Turkish theater finding its own voice to students with examples.
The event, moderated by Assoc. Prof. Dr. Feride Zeynep Güder, was held at Üsküdar Üniversitesi South Campus Socrates Hall.
Dr. Öğr. Üyesi Başak Ergil, at the event where the process of establishing a written theater culture in Turkey through the translation of Western and written dramatic texts was examined in the period extending from the Tanzimat Era Westernization movements to the late Republican Period, recounted Turkey's traditional theater culture's journey to find its own voice.
Ergil pointed out that translation provides a very valuable ground for the blending of traditional performative motifs with written dramatic literature. In this context, plays staged by Ferhan Şensoy, founder of Ortaoyuncular and translator/theater practitioner, and Tiyatrotem, the company founded by Ayşe Selen and Şehsuvar Aktaş, drawing from contemporary and classical works of world literature, were examined.
“Humor culture is very developed among Turks”
Dr. Öğr. Üyesi Başak Ergil, drawing attention to the highly developed humor element among Turks, said: “Within the framework of Westernization, especially during the Tanzimat period, we adopted many written text genres from the West. We also had to imitate them. So, what happened to our own voice, our own culture? When you borrow something, it doesn't fit you, and as you know, it might need to be adapted to the culture. You might need to reconcile it with yourself and your own core values. So, we took all these things, and what happened? Could we find our own voice? Could we create something unique to ourselves?” she pondered. “The culture in our lands is actually based on oral and performative tradition, on improvisation. We had an oral culture before our written culture. I want to talk about traditional Turkish theater. What were the characteristics of traditional Turkish theater? There are plays like puppet, storyteller (meddah), Karagöz-Hacivat, orta oyunu (middle play), village plays. All of these are performance-based things done without written text. When we look at their main characteristics, there is humor, which is why humor is very developed in our culture today. The humor culture of Turks is developed because it's a traditional thing; we have the element of humor and comedy. We have exaggerated characterizations, costumes are more prominent than makeup. It is passed down to the next generation through a master-apprentice relationship.”
“Turks Entered Turkish Theater Later”
Ergil, underlining that there are many cultural elements due to Istanbul being a trade center, stated: “The Ottoman Empire provides a very good foundation, with a cosmopolitan and multicultural background. Istanbul, especially as a trade center with many people coming and going, attracts all kinds of cultural elements. Why did I say 'Turkey Theater' instead of 'Turkish Theater'? Because Turkish theater doesn't start with Turks; it starts with Armenians. The Armenians in the Tanzimat period didn't even speak Turkish; translations came much later. And because we are Muslims and accustomed to street theater, translating and staging dramatic texts is not something we traditionally did on stage. Therefore, I said 'Turkey' because Turks entered Turkish theater later.”
Dr. Öğr. Üyesi Başak Ergil examined the performances of Ferhan Şensoy and Ortaoyuncular, who this time interpreted Bertolt Brecht's translation of John Gay's The Beggar's Opera, titled Üç Kuruşluk Opera, into Turkish under the title Üç Kurşunluk Opera, in terms of translation and rewriting strategies.
Subsequently, the performances of Tiyatrotem were examined, which translated and brought to the stage Alfred Jarry’s theater texts Kral Übü (King Ubu) and Zincire Vurulmuş Übü (Ubu Enchained) under the titles Alem Buysa Kral Übü and Gündüz Niyetine, integrating the element of the imagination screen. Traces of traditions from our traditional theater, such as puppetry, shadow play, and narration, were followed in these translations.
The event concluded after the questions were answered.