Abstract

This study focuses on the aesthetics of the contemporary theatre of Turkey through the focal point of Ottoman non-religious and urban performance forms, and particularly the medium of shadow puppetry known as Karagöz. The major signature of Karagöz is its metatheatricality, which was incorporated into the contemporary theatre of Turkey through the various methods discussed in this thesis. Adaptation, epic theatre, ‘two and a half dimensions,’ and ‘narrative theatre’ are all methods that serve this culturally-rooted metatheatrical performance paradigm. As a through line, while tracing the aesthetic hybridities, Western influences, and organizational structures that shaped the contemporary theatre field of Turkey through multiple case studies, this thesis centers itself around the focus of illustrating the patterns of how the archetypes, elements, and techniques of Karagöz were recycled and re-invented on the contemporary stage. This overall metatheatricality sets up the dramaturgy and acting style through its open form, and through the direct engagement of the performers with their audiences.