{"id":44590,"date":"2017-04-04T04:00:06","date_gmt":"2017-04-04T09:00:06","guid":{"rendered":"http:\/\/akunq.net\/tr\/?p=44590"},"modified":"2017-04-04T04:00:06","modified_gmt":"2017-04-04T09:00:06","slug":"19-yy-osmanli-temasa-sanatinin-baslangicindan-1946ya-ermeniler","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=44590","title":{"rendered":"19. yy. Osmanl\u0131 Tema\u015fa Sanat\u0131n\u0131n Ba\u015flang\u0131c\u0131ndan 1946\u2019ya Ermeniler."},"content":{"rendered":"

\"Theatre<\/a>Bo\u011fos \u00c7alg\u0131c\u0131o\u011flu’ndan Al\u0131nm\u0131\u015ft\u0131r.<\/strong><\/p>\n

Efendim, \u00f6\u011frenebildi\u011fim kadar\u0131yla \u0130stanbul\u2019da ilk tiyatro hareketleri III. Ahmet devrinde baz\u0131 yabanc\u0131 oyuncular\u0131n Frans\u0131z konsoloslu\u011funda az say\u0131da yabanc\u0131 seyircilere verdikleri temsillerle ba\u015flar. 1820\u2019lerde D\u00fczyan ailesinin Kuru\u00e7e\u015fme\u2019deki yal\u0131s\u0131nda Ermeni gen\u00e7ler taraf\u0131ndan ilk temsiller verildi. Daha sonra Ortak\u00f6y\u2019de \u015eahinyan ailesinin evinde bu temsiler devam etti. Bebek\u2019teki Frans\u0131z okulunun \u00f6\u011frencileri, \u00f6\u011fretmenleri Kapriyel Anu\u015fyan idaresinde trajediler sahnelediler.
\n<\/em><\/strong>
\nAyn\u0131 tarihlerde \u00dcsk\u00fcdar\u2019da Bo\u011fos Odyan Efendi, evinin \u00e7at\u0131 kat\u0131nda bir sahne olu\u015fturdu ve bunu Karekin Papazyan, \u0130lyas \u00c7ayyan, Dikran Pe\u015ftemalc\u0131yan gibi gen\u00e7lerin kullan\u0131m\u0131na verdi. Gen\u00e7ler bu sahnede\u00a0\u201cRacine, Voltaire ve Moli\u00e8re\u201d<\/em>den eserler sahnelediler. Hask\u00f6y\u2019deki Ermeni okulunda bir grup gen\u00e7, y\u00f6netmenleri Ermeni hastanesi doktorlar\u0131ndan Karekin \u00c7aprazyan ba\u015fkanl\u0131\u011f\u0131nda, kadrolar\u0131na ayn\u0131 okulun \u00f6\u011fretmenlerinden M\u0131nakyan, Fasulyac\u0131yan ve T\u00fclbent\u00e7iyan\u2019\u0131 da alarak temsiller verdiler.<\/p>\n

Kuzguncuktaki Ermeni gen\u00e7leri\u00a0\u201cErmeni Dostlar\u0131\u201d<\/em>\u00a0adl\u0131 bir ekip kurarak Surp Lusavori\u00e7 okulunda oyunlar sahnelediler. Hask\u00f6y ve Kuzguncukla birlikte Ortak\u00f6y\u2019de de tiyatro faaliyetleri gittik\u00e7e geli\u015fti ve Ortak\u00f6y Katolik okulunun \u00f6\u011frencileri ayn\u0131 okulda M\u0131g\u0131rdi\u00e7 Be\u015fikta\u015fl\u0131yan taraf\u0131ndan Ermenice\u2019ye \u00e7evrilen\u00a0\u201cAlfierie\u201d<\/em>nin\u00a0\u201cSavol\u201d<\/em>\u00a0adl\u0131 oyununu oynad\u0131. Bu ekip 1867\u2019de Gregoryen okulunun ekibi ile birle\u015ferek\u00a0\u201cOrtak\u00f6y Tiyatro Sevenler Derne\u011fi\u201d<\/em>ni kurdular. Bu dernek daha sonra isimlerini anaca\u011f\u0131m\u0131z bir\u00e7ok sanat\u00e7\u0131n\u0131n ilk kez burada seyirci ile tan\u0131\u015fmas\u0131 ve de ilk telif eserimiz olan Tovmas Berents\u2019in\u00a0\u201cAldat\u0131lan E\u011finli\u201d<\/em>\u00a0adl\u0131 oyununun sahnelenmesi a\u00e7\u0131s\u0131ndan, Osmanl\u0131 Ermeni Tiyatrosunda \u00f6nemli bir yere sahip olmu\u015ftur.<\/p>\n

Daha sonra ayn\u0131 yerde 1872-73\u2019de Ma\u011fakyan tiyatrosu tamamen telif eserlere yer vermi\u015f, T\u0131\u011fl\u0131yan\u2019\u0131n, Terziyan\u2019\u0131n oyunlar\u0131 sahnelenmi\u015f. Fakat ne yaz\u0131k ki her g\u00fczel \u015fey gibi bu tiyatronun da sonu k\u00f6t\u00fc olmu\u015f ve bir y\u0131l sonra kapanm\u0131\u015ft\u0131r.<\/p>\n

\u0130stanbul\u2019daki ilk tiyatro binas\u0131 Venedik\u2019li J\u00fcstinyen taraf\u0131ndan Galatasaray civar\u0131nda in\u015fa edilen Frans\u0131z tiyatrosudur.<\/p>\n

\u0130kincisi de Hristaki pasaj\u0131ndaki Naum Tiyatrosu\u2019dur. Mikael Naum ad\u0131nda bir Halepli taraf\u0131ndan 1844\u2019te kurulmu\u015ftur. \u00d6nce\u00a0\u201cTheatre de Pera\u201d,<\/em>\u00a01849\u2019dan sonra\u00a0\u201cTheatre \u0130taliane Naum\u201d\u00a0<\/em>adlar\u0131yla an\u0131ld\u0131.<\/p>\n

Galatasaray lisesinin kar\u015f\u0131s\u0131nda, \u015fimdiki \u00c7i\u00e7ek Pasaj\u0131\u2019n\u0131n bulundu\u011fu yerdeki eski\u00a0\u201cBosco Tiyatrosu\u201d<\/em>nu sat\u0131n alan Naum Efendi, \u00f6nce binay\u0131 onard\u0131. Ard\u0131ndan ilk temsil, \u0130talyanca oynanan\u00a0\u201cLucresse Borgia\u201d<\/em>\u00a0operas\u0131d\u0131r. Ah\u015fap binan\u0131n yanmas\u0131 \u00fczerine 1846\u2019da k\u00e2gir bina yap\u0131ld\u0131. Naum Tiyatrosu\u2019nda Abd\u00fclaziz\u2019in, Abd\u00fclmecit\u2019in \u00f6zel localar\u0131 vard\u0131. Avusturya \u0130mparatoru, \u0130ngiltere veliahd\u0131 gibi \u00fcnl\u00fcler, seyirciler aras\u0131nda yer ald\u0131. Bina 1870\u2019deki\u00a0\u201cB\u00fcy\u00fck Beyo\u011flu Yang\u0131n\u0131\u201d<\/em>nda yand\u0131. G\u00fcn\u00fcm\u00fczde \u00c7i\u00e7ek Pasaj\u0131\u2019na girerken, iki yanda g\u00f6rd\u00fc\u011f\u00fcn\u00fcz kad\u0131n heykellerinden ve \u00fcstteki saatten ba\u015fka hi\u00e7bir \u015fey kalmad\u0131.<\/p>\n

Bu sahnede Ek\u015fiyan ba\u015fkanl\u0131\u011f\u0131nda, \u00c7ama\u015f\u0131rc\u0131yan, Ma\u011fakyan ve Bayan Fanny\u2019nin de d\u00e2hil oldu\u011fu bir grup, \u0130talyancadan terc\u00fcme eserler sahnelemi\u015ftir. Mardiros M\u0131nakyan, ilk kez bir kad\u0131n rol\u00fcyle bu sahnede profesyonel olmu\u015ftur.<\/p>\n

1859\u2019da Altunduri Arakel Efendi, Hask\u00f6y\u2019de bir tiyatro binas\u0131 in\u015fa ettirmi\u015ftir fakat Naum Efendi, \u0130stanbul\u2019da tiyatro yapma hakk\u0131n\u0131 padi\u015fah ferman\u0131yla ele ge\u00e7irince, padi\u015fah Hask\u00f6y\u2019deki tiyatroyu kapatt\u0131rm\u0131\u015ft\u0131r.<\/p>\n

Daha sonra Arakel Efendi, 1861 y\u0131l\u0131nda\u00a0\u201cCafe Oriental\u201d<\/em>i yani \u015fimdiki Tokatl\u0131yan binas\u0131n\u0131 be\u015f y\u0131ll\u0131\u011f\u0131na kiralay\u0131p\u00a0\u201c\u015eark Tiyatrosu\u201d<\/em>nu kurmu\u015ftur. \u00d6nemli bir sermayeye sahip oldu\u011fundan, sahneye ve salona \u00e7ok masraf edilmi\u015f ama halk\u0131 ilgilendiren, konusunu onlar\u0131n g\u00fcnl\u00fck hayat\u0131ndan alan, tema\u015fa sanat\u0131na yeni yeni al\u0131\u015fmaya ba\u015flayan seyircinin ilgisini \u00e7ekebilecek hi\u00e7bir esere yer verilmemi\u015ftir. Bilakis repertuara, yabanc\u0131 komediler, melodramlar, trajediler al\u0131nd\u0131\u011f\u0131 i\u00e7in kadrodaki Fasulyeciyan, Atamyan, M\u0131nakyan, Bengliyan, Tryans, Acemyan gibi oyunculara ra\u011fmen ve de bu oyuncular\u0131n aralar\u0131ndaki ge\u00e7imsizlikleri de g\u00f6z \u00f6n\u00fcne al\u0131rsak ancak perdelerini \u00fc\u00e7 y\u0131l a\u00e7\u0131k tutabilmi\u015ftir. Yine de sahneye ilk kez \u00e7\u0131kan kad\u0131n oyuncular olan, Kumkap\u0131 okulunun \u00f6\u011fretmenlerinden Arusyak ve karde\u015fi A\u011favni Papazyan, Mariam Dza\u011fikyan seyirciyle \u015eark Tiyatrosu\u2019nda tan\u0131\u015fm\u0131\u015flard\u0131r.<\/p>\n

Zaman zaman bir\u00e7ok yeni ve amat\u00f6r oyuncunun sahneye \u00e7\u0131kmas\u0131na olanak tan\u0131d\u0131\u011f\u0131 i\u00e7in \u015eark Tiyatrosu\u2019nun tema\u015fa sanat\u0131ndaki yeri \u00f6nemlidir. 1864\u2019te da\u011f\u0131lan \u015eark Tiyatrosu, 1866\u2019da Simon T\u0131ng\u0131ryan\u2019\u0131n giri\u015fimiyle yeniden \u00e7al\u0131\u015fmaya ba\u015flad\u0131 ve 1874\u2019e kadar temsillerini s\u00fcrd\u00fcrd\u00fc.<\/p>\n

\u015eimdi bu noktada yukar\u0131da ismi an\u0131lan baz\u0131 sanat\u00e7\u0131lar\u0131 birka\u00e7 c\u00fcmleyle tan\u0131maya \u00e7al\u0131\u015fal\u0131m:<\/p>\n

Devrinin \u00f6nde gelen oyuncular\u0131ndan biridir. \u00d6zellikle en iyi Shakespeare yorumcusu olarak efsanele\u015fmi\u015ftir. \u0130yi bir Hamlet oynayabilmek i\u00e7in Danimarka\u2019ya gidip, uzun bir s\u00fcre tavan nakka\u015fl\u0131\u011f\u0131 yapm\u0131\u015ft\u0131r. Yabanc\u0131 \u00fclkelerde de kendisinden \u00f6vg\u00fcyle s\u00f6z ettiren Atamyan, \u015fiir ve resim dallar\u0131nda da \u00fcr\u00fcn verdi. Istepan Ek\u015fiyan\u2019\u0131n \u00f6\u011frencisiydi. 1869\u2019da \u201cKahraman Hayk\u201d oyununda Hayk rol\u00fcn\u00fc oynad\u0131. 1870\u2019de Fasulyeciyan\u2019la Kafkasya\u2019ya gitti. Ma\u011fakyan\u2019la Ortak\u00f6y\u2019de \u00e7al\u0131\u015ft\u0131. Aznif Hra\u00e7ya ile muhte\u015fem bir ikili olu\u015fturdular.<\/p>\n

Bu bilgilerin \u00e7o\u011funlu\u011funu derledi\u011fim\u00a0\u201c<\/em>\u0539\u0580\u0584\u0561\u0570\u0561\u0575<\/em>\u00a0<\/em>\u0532\u0565\u0574\u0576<\/em>\u00a0<\/em>\u0535\u0582<\/em>\u00a0<\/em>\u053b\u0580<\/em>\u00a0<\/em>\u0533\u0578\u0580\u056e\u056b\u0579\u0576\u0565\u0580\u0568<\/em>\u201d (T\u00fcrkiye Ermeni Sahnesi ve \u00c7al\u0131\u015fanlar\u0131) <\/em>kitab\u0131n\u0131n yazar\u0131 \u015earasan, Osmanl\u0131 Ermeni\u00a0Tiyatrosunun en \u00f6nemli akt\u00f6rlerinden olan Atamyan\u2019\u0131 ve onun sanat\u00e7\u0131 ki\u015fili\u011fini anlatabilmenin birka\u00e7 sayfa ile m\u00fcmk\u00fcn olamayaca\u011f\u0131n\u0131, hakk\u0131nda kitaplar yaz\u0131lmas\u0131 gerekti\u011fini belirtmektedir. \u0130lk f\u0131rsatta b\u00f6yle bir kitaba da ba\u015flayaca\u011f\u0131n\u0131n s\u00f6z\u00fcn\u00fc verir. Ama bunun ger\u00e7ekle\u015fti\u011fine dair verilere ula\u015famad\u0131m.<\/p>\n

Beyo\u011flu\u2019nda fakir bir Ermeni ailesinin o\u011flu olarak d\u00fcnyaya geldi. Hi\u00e7 e\u011fitim almad\u0131. \u00c7e\u015fitli i\u015flere girip \u00e7\u0131kt\u0131. 1857\u2019de Hask\u00f6y\u2019de Ma\u011fakyan ve Acemyan\u2019\u0131n kurduklar\u0131 tiyatroda amat\u00f6r olarak \u00e7al\u0131\u015ft\u0131. \u015eark Tiyatrosunun sufl\u00f6r\u00fc Romanos Sedef\u00e7iyan\u2019dan 25 ya\u015f\u0131ndayken Ermenice okuma yazma \u00f6\u011frendi. 1861\u2019de Ek\u015fiyan\u2019\u0131n ekibiyle \u0130zmir\u2019e gitti ve Vaspuragan tiyatrosunda oynad\u0131. Ek\u015fiyan\u2019\u0131n sahneden ayr\u0131l\u0131\u015f\u0131yla 1864\u2019de \u015eark tiyatrosuna, 1866da Naum tiyatrosuna ge\u00e7ti. \u00dcsk\u00fcdar\u2019da Aziziye tiyatrosunda sahneye \u00e7\u0131kt\u0131. 1867\u2019de G\u00fcll\u00fc Agop\u2019la \u00e7al\u0131\u015fmaya ba\u015flad\u0131. Bu tiyatrodaki en \u00f6nemli rolleri\u201cMonte Christo\u2019da Edmond Dantes\u201d, \u201cCessar Borgia\u2019da Miciletto\u201d, \u201cTeressa\u2019da Baron\u201d, \u201cLucy Didie\u2019de Sarsan\u201d, \u201cAngelo Mailipierrie\u2019de Angelo\u201d, \u201cPaul ve Virginie\u2019de Alphonso\u201d<\/em>dur.<\/p>\n

Bengliyan, 1875\u2019den 1887\u2019ye kadar s\u00fcren, nota bilen bir tek elemana bile sahip olmayan ve kendi ad\u0131yla an\u0131lan bir operet kumpanyas\u0131 kurdu. Genellikle Takvor Nalyan\u2019\u0131n ba\u015frol oynad\u0131\u011f\u0131 Offenbach, Donizetti gibi bat\u0131l\u0131 bestekarlar\u0131n, nispeten kolay ama demode olmayan operetleri sahnelenirken, \u00f6nemli bir \u00e7\u0131k\u0131\u015f yap\u0131lm\u0131\u015f ve telif eser olarak sahnelenen Dikran \u00c7uhac\u0131yan\u2019\u0131n\u00a0\u201cArif\u2019in Hilesi, K\u00f6se Kahya, Leblebici Horhor\u201d<\/em>\u00a0operetleri \u00e7ok b\u00fcy\u00fck be\u011feni kazan\u0131r.<\/p>\n

M\u0131nakyan, G\u00fcre\u011fyan, Kuyumcuyan, \u00c7aprasd, \u015eazik, Arusyak, A\u011favni, Zabel, Siranu\u015f Han\u0131m gibi oyuncularla kadrosunu g\u00fc\u00e7lendiren Bengliyan, 1887\u2019de M\u0131nakyan y\u00f6netiminde M\u0131s\u0131r\u2019a gitti. Hidiv Tevfik Pa\u015fa\u2019n\u0131n korumas\u0131nda oyunlar oynad\u0131. Bir s\u00fcre sonra pa\u015fan\u0131n yapt\u0131\u011f\u0131 para yard\u0131mlar\u0131n\u0131n, oyuncular aras\u0131nda payla\u015f\u0131lamamas\u0131ndan dolay\u0131 ekip da\u011f\u0131ld\u0131. O g\u00fcnlerde pa\u015fay\u0131 fazlaca ele\u015ftirdi\u011finden saraydan uzakla\u015ft\u0131r\u0131ld\u0131. Daha sonra gen\u00e7lerle yeni bir tiyatro kurmaya \u00e7al\u0131\u015ft\u0131. Ba\u015far\u0131s\u0131z oldu. \u0130skenderiye\u2019de bir otel odas\u0131nda yoksulluk i\u00e7inde \u00f6ld\u00fc. Cesedi birka\u00e7 g\u00fcn sonra bulundu.<\/p>\n

\n

Tovmas Fasulyeciyan 1843 \u2013 1903<\/strong><\/p>\n

Yoksul bir ailenin \u00e7ocu\u011fuydu. Kumkap\u0131 Ermeni \u0130lkokuluna girdi ama bitiremedi. Okulda \u00f6\u011fretmenlerinin taklidini yaparak yetene\u011fi konusunda dikkatleri \u00fcst\u00fcne \u00e7ekti.<\/p>\n

15 ya\u015f\u0131ndayken Hask\u00f6y\u2019de Bengliyan\u2019la ayn\u0131 ekipte amat\u00f6r olarak oynad\u0131. Oynad\u0131\u011f\u0131 u\u015fak rol\u00fcyle \u00e7ok ba\u015far\u0131l\u0131 olunca \u015eark Tiyatrosuna profesyonel olarak girdi. Ayn\u0131 y\u0131llarda Dikran Kalemciyan ba\u015fkanl\u0131\u011f\u0131nda, kendisi de rejis\u00f6rl\u00fck g\u00f6revini y\u00fcklenerek, 1860-61\u2019de k\u0131sa bir s\u00fcre \u015eehzadeba\u015f\u0131\u2019nda\u00a0\u201cTema\u015fa-i H\u00fcner, Opera-i Osmani Tiyatrosu\u201d<\/em>nu kurdu. Ek\u015fiyan\u2019la \u0130zmir turnesindeyken Baydzar Han\u0131m\u2019la evlendi. 1863\u2019te Trabzon\u2019a gitti. Orada gen\u00e7lerle \u00e7al\u0131\u015ft\u0131. Geri d\u00f6nd\u00fc\u011f\u00fcnde \u00dcsk\u00fcdar Aziziye Tiyatrosu\u2019nda oynad\u0131. Fazla ba\u015far\u0131l\u0131 olamad\u0131.<\/p>\n

G\u00fcll\u00fc Agop\u2019un davetiyle Gedikpa\u015fa Tiyatrosu\u2019nda \u00e7al\u0131\u015fmaya ba\u015flad\u0131. G\u00fcll\u00fc Agop tiyatrosunda ba\u015f akt\u00f6r olarak oynad\u0131\u011f\u0131 eserlerden baz\u0131lar\u0131\u00a0\u201cBen Lielle\u2019de Ben Lielle\u201d, \u201cK\u00fc\u00e7\u00fck Polonya\u2019da Pierre ve Jack Reno\u201d<\/em>,\u00a0\u201cDe\u011firmencinin K\u0131z\u0131\u2019nda Tibio\u201d, \u201cBayan Saint Tropez\u2019de George Moritz\u201d, \u201dYa\u015fl\u0131 Onba\u015f\u0131\u2019da Onba\u015f\u0131 Simon\u201d, \u201cPamela\u2019da Caspar\u201d, \u201cMonte Christo\u2019da Appa Faria\u201d, \u201cK\u0131rm\u0131z\u0131 K\u00f6pr\u00fc Cinayeti\u2019nde Gilbert Gaultier\u201d<\/em>\u00a0ve daha onlarca eser. Be\u015f y\u0131l sonra ge\u00e7inemeyip 1880\u2019de Bursa\u2019ya gitti. 1885\u2019e kadar Bursa\u2019da \u00e7al\u0131\u015fan Fasulyeciyan, Tiyatrosu\u2019nun varl\u0131\u011f\u0131n\u0131 Ahmet Vefik Pa\u015fa\u2019n\u0131n, tiyatroyu ve tiyatrocuyu korumas\u0131na bor\u00e7ludur. Pa\u015fan\u0131n bug\u00fcn bile de\u011ferini koruyan Moliere terc\u00fcmelerine ve adaptasyonlar\u0131na repertuar\u0131nda geni\u015f yer vermi\u015f, kadrosu pek zengin olmamas\u0131na ra\u011fmen, durumu ustal\u0131kla idare etmi\u015ftir. Hep ayn\u0131 oyunlar\u0131 i\u015flemi\u015f, yeni eser yeni oyun riskine girmemi\u015ftir. Sonunda halk bundan s\u0131k\u0131lm\u0131\u015fsa da her \u015feye ra\u011fmen, Anadolu\u2019da kurulan bir tiyatro olarak, Fasulyeciyan\u2019\u0131n \u00e7al\u0131\u015fmalar\u0131 ba\u015far\u0131l\u0131 say\u0131l\u0131r.<\/p>\n

Bu arada yeri gelmi\u015fken g\u00fcn\u00fcm\u00fczde de s\u00fcrekli sahnelenen k\u0131ymetli tiyatro yazar\u0131m\u0131z, b\u00fcy\u00fck usta Haldun Taner\u2019in\u201cSersem Kocan\u0131n Kurnaz Kar\u0131s\u0131\u201d<\/em>\u00a0<\/em>adl\u0131 eserini ve o devirde oyuncular\u0131n tiyatro yapmak u\u011fruna \u00e7ektikleri a\u00e7l\u0131k ve sefalet gibi s\u0131k\u0131nt\u0131lar\u0131, tiyatro ve sahne hayat\u0131na bak\u0131\u015flar\u0131n\u0131, \u00fcnl\u00fc Fasulyeciyan tirad\u0131yla \u015f\u00f6yle bir hat\u0131rlayal\u0131m:<\/p>\n

\u201cZaten akt\u00f6r dedi\u011fin nedir ki? Oynarken var\u0131zd\u0131r, yok olunca da sesimiz bu bo\u015f kubbede bir ho\u015f seda olarak kal\u0131r. Bir zaman sonra da unutulur gider. Olsa olsa eski program dergilerinde soluk birer hayal olur kal\u0131r\u0131z.\u00a0<\/em><\/p>\n

G\u00f6rooorum, hepiniz gardoroba ko\u015fmaya haz\u0131rlan\u0131orsunuz. Birazdan teatro bombo\u015f kalacak. Ama teatro i\u015fte o zaman ya\u015famaya ba\u015flar. \u00c7\u00fcnk\u00fc Satenik\u2019in bir \u015fark\u0131s\u0131 \u015fu perdelere tak\u0131l\u0131 kalm\u0131\u015ft\u0131r. Benim bir tirad\u0131m \u015fu pervaza sinmi\u015ftir. H\u0131ranu\u015fla Virginia\u2019n\u0131n bir dialo\u011fu eski kost\u00fcmlerden birinin y\u0131rt\u0131\u011f\u0131na s\u0131\u011f\u0131nm\u0131\u015ft\u0131r. \u0130\u015fte bu hat\u0131ralar o sessizlikte sakland\u0131klar\u0131 yerden \u00e7\u0131kar, bir f\u0131s\u0131lt\u0131 halinde sahneye d\u00f6k\u00fcl\u00fcrler.\u00a0<\/em><\/p>\n

Art\u0131k kendimiz yo\u011fuz. Seyircilerimiz de kalmad\u0131. Ama repliklerimiz f\u0131s\u0131lda\u015f\u0131r dururlar sabaha kadar. G\u00fcn a\u011far\u0131r, temizleyiciler gelir, replikler yerlerine ka\u00e7\u0131\u015f\u0131r\u2026 PEERDE !\u201d<\/em><\/p>\n

Fasulyeciyan daha sonra Bulgaristan\u2019a gitti. Orada sekiz y\u0131l kald\u0131. D\u00f6n\u00fc\u015f\u00fcnde bir s\u00fcre Samsun\u2019da oynad\u0131. 1894\u2019te T\u00fcrkiye\u2019den ayr\u0131ld\u0131. Romanya ve Bulgaristan\u2019da kald\u0131. Hastaland\u0131. Dostlar\u0131n\u0131n yard\u0131m\u0131yla Paris\u2019e, oradan da \u0130skenderiye\u2019ye gitti. Birka\u00e7 oyunda oynad\u0131 ve orada yoksulluk i\u00e7inde \u00f6ld\u00fc.<\/p>\n

\n

Baydzar Fasulyeciyan (Papazyan) (1845 \u2013 1920)<\/strong><\/p>\n

\u0130stanbul\u2019da do\u011fdu. Bir papaz ailesinin k\u0131z\u0131yd\u0131. K\u00fc\u00e7\u00fck ya\u015fta ailesiyle Romanya\u2019ya gitti. Birka\u00e7 y\u0131l sonra \u0130stanbul\u2019a d\u00f6nd\u00fc, \u015eark Tiyatrosu\u2019na girdi. Sonra Ek\u015fiyan ile \u0130zmir\u2019e gitti.<\/p>\n

Vaspuragan Tiyatrosu\u2019na kat\u0131ld\u0131. Burada Tovmas Fasulyeciyan\u2019la evlendi. 1864\u2019te Trabzon\u2019a gittiler. 1872\u2019de \u0130stanbul\u2019a d\u00f6nd\u00fcler. Kendi topluluklar\u0131n\u0131 y\u00fcr\u00fctemeyince Osmanl\u0131 Tiyatrosu\u2019na girdiler. 1878\u2019e kadar gezici topluluklarda \u00e7al\u0131\u015ft\u0131lar. Bursa\u2019da Ahmet Vefik Pa\u015fa<\/p>\n

Tiyatrosu\u2019na girdiler. Orada Tovmas Fasulyeciyan\u2019n\u0131n Takuhi Hranu\u015f ile birlikteli\u011fi Baydzar Fasulyeciyan\u2019\u0131 \u00e7ok mutsuz etti. Baydzar bu duruma dayanamayarak, iki \u00e7ocu\u011funu alarak \u0130stanbul\u2019a d\u00f6nd\u00fc ve M\u0131nakyan\u2019la \u00e7al\u0131\u015fmaya ba\u015flad\u0131. Daha sonra kocas\u0131yla bar\u0131\u015ft\u0131ysa da hi\u00e7 mutlu olamad\u0131. Ge\u00e7imini resim yaparak ve diki\u015f dikerek s\u00fcrd\u00fcrmeye \u00e7al\u0131\u015ft\u0131, 1920\u2019de \u00f6ld\u00fc.\n<\/p>\n

Takuhi Hranu\u015f (1854 – ???)<\/strong><\/p>\n

\u00dcsk\u00fcdar\u2019da do\u011fdu. Hi\u00e7 okula gitmedi. K\u00fc\u00e7\u00fck ya\u015fta ailesini kaybetti. Yetene\u011fini G\u00fcll\u00fc Agop anlad\u0131 ve tiyatrosuna ald\u0131. Ona okuma yazma \u00f6\u011fretti. Oyunculu\u011funu en \u00e7ok Bursa\u2019da Ahmet Vefik Pa\u015fa Tiyatrosu\u2019nda g\u00f6sterdi. G\u00fczelli\u011fi ve g\u00fczel T\u00fcrk\u00e7e\u2019si ile \u00f6n plana \u00e7\u0131kt\u0131. Ahmet Vefik Pa\u015fa\u2019n\u0131n da ilgisini \u00e7ekti. \u00d6zellikle Fasulyeciyan ile ili\u015fkisi Fasulyeciyan ailesinin mutsuzlu\u011funa yol a\u00e7t\u0131. Tiyatro ad\u0131na \u00e7ok \u00f6nemli i\u015flere imza att\u0131\u011f\u0131 s\u00f6ylenemez.<\/p>\n

\n

Tavit Tryans (1840-1899)<\/strong><\/p>\n

Beyo\u011flu\u2019nda do\u011fdu. \u0130lk \u00f6\u011frenimini Beyo\u011flu\u2019ndaki Venedik Murat Rafaelyan okulunda yapt\u0131. Oradan e\u011fitimine devam edebilmesi i\u00e7in Venedik\u2019e g\u00f6nderildi. 1858\u2019de hastalanarak okulu yar\u0131m b\u0131rakt\u0131 ve \u0130stanbul\u2019a d\u00f6nd\u00fc. Babas\u0131n\u0131n \u0131srar\u0131 ile baba mesle\u011fi olan kuyum ressaml\u0131\u011f\u0131 i\u015fine ba\u015flad\u0131. \u00c7ok ba\u015far\u0131l\u0131 oldu. 1861\u2019de kendisine yap\u0131lan davet \u00fczerine \u015eark Tiyatrosu\u2019nun ilk oyunu olan\u00a0\u201c\u0130ki \u00c7avu\u015flar\u201d<\/em>\u00a0melodram\u0131nda Gustav rol\u00fcyle sahneye \u00e7\u0131kt\u0131. \u015eark Tiyatrosu\u2019nun ilk kapan\u0131\u015f\u0131ndan sonra Ek\u015fiyan\u2019la \u0130zmir\u2019e giderek Vaspuragan Toplulu\u011fu\u2019na kat\u0131ld\u0131, \u00e7ok fazla sivrilemedi. \u0130zmir\u2019de evlendi. Bir s\u00fcre Abdullah Karde\u015fler\u2019in yan\u0131nda foto\u011fraf\u00e7\u0131l\u0131k yapt\u0131. 1868\u2019de \u0130stanbul\u2019a d\u00f6nd\u00fc. G\u00fcll\u00fc Agop\u2019la bir s\u00fcre \u00e7al\u0131\u015ft\u0131ktan sonra Fasulyeciyan\u2019la Nah\u00e7ivan\u2019a gitti, halk orada kendisini \u00e7ok tuttu. 1872-73\u2019te Ma\u011fakyan Toplulu\u011fu\u2019na girdi. 1874-78 aras\u0131nda Osmanl\u0131 Tiyatrosu\u2019nda g\u00f6rev ald\u0131. 1878\u2019de Bengliyan Operet Toplulu\u011fu\u2019yla Edirne\u2019ye gitti. Leblebici Horhor, Girofle-Girofla gibi m\u00fczikli oyunlarda oynad\u0131. B\u00fct\u00fcn bunlar\u0131n d\u0131\u015f\u0131nda en ba\u015far\u0131l\u0131 oldu\u011fu roller Moliere oyunlar\u0131yd\u0131. Bursa\u2019da Ahmet Vefik Pa\u015fa\u2019n\u0131n kurdu\u011fu tiyatroda Tartuffe d\u0131\u015f\u0131nda b\u00fct\u00fcn Moliere oyunlar\u0131nda ba\u015f rol oynam\u0131\u015ft\u0131r. 1882\u2019de Bulgaristan ve Tiflis\u2019e gitti, \u0130stanbul\u2019a d\u00f6nd\u00fc, 1892\u2019de Fasulyeciyan\u2019la baz\u0131 oyunlarda oynad\u0131. Gittik\u00e7e k\u00f6t\u00fcle\u015fen sa\u011fl\u0131\u011f\u0131 onun sefil bir hayat ya\u015famas\u0131na neden oldu. Kahire\u2019ye gitti. Doktor s\u0131cak yerlere gitmesini s\u00f6ylemi\u015fti fakat paras\u0131 yoktu. Para bulabilmek i\u00e7in temsil organize etmeye \u00e7al\u0131\u015ft\u0131 ama ba\u015faramad\u0131. Ona\u00a0\u201cFakirler Sand\u0131\u011f\u0131\u201d<\/em>ndan sadaka say\u0131lacak kadar k\u00fc\u00e7\u00fck bir para verdiler. 1898\u2019de Bak\u00fc\u2019ye \u00e7a\u011f\u0131r\u0131ld\u0131. Orada\u00a0\u201cBa\u011fdasar A\u011fpar\u201d<\/em>\u00a0gibi Hagop Baronyan\u2019\u0131n baz\u0131 oyunlar\u0131nda oynad\u0131. Tiflis\u2019e d\u00f6nd\u00fc. Orada da birka\u00e7 oyunda oynad\u0131ktan sonra Bak\u00fc\u2019ye d\u00f6nmeye \u00e7al\u0131\u015ft\u0131 ama beceremedi. Sa\u011fl\u0131\u011f\u0131 iyice k\u00f6t\u00fcle\u015fmi\u015fti. 1899\u2019da fel\u00e7 oldu. K\u0131sa bir s\u00fcre sonra da \u00f6ld\u00fc. Cenazesi para toplanarak defnedildi.<\/p>\n

\u00a0<\/em><\/p>\n

Karekin R\u0131\u015ftuni (1840 \u2013 1879)<\/strong><\/p>\n

B\u00fckre\u015f\u2019te do\u011fdu. K\u00fc\u00e7\u00fck ya\u015fta \u0130stanbul\u2019a geldi, Beyo\u011flu\u2019na yerle\u015fti. K\u0131sa s\u00fcre sonra babas\u0131 \u00f6ld\u00fc. \u00c7ok zor \u015fartlarda 1858\u2019de okulunu bitirdi. \u00d6\u011fretmen olarak Romanya\u2018ya gitti. \u0130ki y\u0131l orada \u00f6\u011fretmenlik yapt\u0131ktan sonra \u0130stanbul\u2019a d\u00f6nd\u00fc. 1865-66 y\u0131llar\u0131nda \u015eark Tiyatrosu\u2019ndaki komedyalarda \u00e7ok sivrildi. Hastal\u0131k Hastas\u0131, Georges Dandin, Cimri gibi oyunlarda ba\u015f roldeydi. Arda\u015fes Fatih, Cesar Borgia, Lion Postas\u0131 gibi dramlarda oynad\u0131. Oynad\u0131\u011f\u0131 komedyalardaki \u015fark\u0131lar\u0131n s\u00f6zlerini de yaz\u0131yordu. Bir \u00e7ok oyun da yazm\u0131\u015f ve ba\u015f rol\u00fcn\u00fc oynam\u0131\u015ft\u0131r. Bunlardan baz\u0131lar\u0131, Alt\u0131bu\u00e7uk G\u00f6bekten Miras Kalan Sand\u0131k, Ka\u011f\u0131ttan Yakal\u0131kl\u0131 A\u015f\u0131k, Niks Niks vs\u2026 K\u00f6se Kahya\u2019n\u0131n metni de onundur. Gazetelerde bazen takma adla yaz\u0131lar da yazd\u0131. Bir s\u00fcre Osmanl\u0131 Tiyatrosu\u2019nda y\u00f6neticilik de yapt\u0131. Sa\u011fl\u0131\u011f\u0131 gittik\u00e7e bozuldu, veremdi. 1876\u2019da iyice k\u00f6t\u00fcle\u015fti, hatta bir mektubunda eczac\u0131 dostu N\u0131\u015fanik A\u011fa \u011eugasyan\u2019a m\u00fcmk\u00fcnse ona ila\u00e7 g\u00f6ndermesini, ila\u00e7 paras\u0131 bile veremeyecek durumda oldu\u011funu yazd\u0131. Eczac\u0131 dostu onun bu ricas\u0131n\u0131 k\u0131rmad\u0131. Hatta 1877 bahar\u0131nda biraz d\u00fczeldi. Fasulyeciyan Toplulu\u011fu ile Bursa, \u0130zmir, Selanik, Tekirda\u011f ve Rodos\u2019a gitti. Yeniden birka\u00e7 arkada\u015f\u0131yla Selanik\u2019e d\u00f6nd\u00fc. Orada \u00e7ok k\u00f6t\u00fcle\u015fti. Dilencilik yapt\u0131. So\u011fuk ve a\u00e7l\u0131k i\u00e7inde yapayaln\u0131z 1879\u2019da \u00f6ld\u00fc. Rumlar\u0131n d\u00fczenledi\u011fi \u00e7ok iyi bir t\u00f6renle Rum mezarl\u0131\u011f\u0131na g\u00f6m\u00fcld\u00fc. Yeri belli de\u011fildir.<\/p>\n

\n

Yeranuhi Karaka\u015fyan (1848 \u2013 1924)<\/strong><\/p>\n

\u0130stanbul \u00dcsk\u00fcdar\u2019da do\u011fdu. \u0130lkokulu mahalle okulunda okudu. Osmanl\u0131 Tiyatrosu\u2019nun en az 10 y\u0131l ba\u015f kad\u0131n oyuncusu oldu. 13-14 ya\u015f\u0131nda ilk kez Hekimyan ba\u015fkanl\u0131\u011f\u0131ndaki \u015eark Tiyatrosu\u2019nda B\u00fcy\u00fck Drtad oyunuyla sahneye \u00e7\u0131kt\u0131. \u00c7ok ba\u015far\u0131l\u0131 oldu. 17 ya\u015f\u0131ndayken Hagop Baronyan, b\u00fct\u00fcn tiyatrocular\u0131 alaya al\u0131rken, ondan \u00f6vg\u00fcyle bahsederdi. G\u00f6steri\u015fi severdi. D\u00f6rt atl\u0131 arabayla gezer, herkesi kendine hayran b\u0131rak\u0131rd\u0131. Kafkasya\u2019da S\u0131ntukyan, Shakespeare, Schiller, Gogol\u2019un eserlerini oynad\u0131. Arusyak Papazyan\u2019\u0131n g\u00fcncelli\u011fini kaybetmesiyle y\u0131ld\u0131z\u0131 parlad\u0131. Ba\u015flang\u0131\u00e7ta gen\u00e7 erkek rollerine \u00e7\u0131kard\u0131.\u00a0\u201cPaul ve Virginie\u201d<\/em>de Paul,\u00a0\u201cZavall\u0131 \u00c7ocuk\u201d<\/em>ta Ata,\u00a0\u201cG\u00fczel Osep\u201d<\/em>te Osep rol\u00fc gibi. Melodramlarda birka\u00e7 role birden \u00e7\u0131kard\u0131.\u00a0\u201cMonte Christo\u201d<\/em>da Mercedes,\u00a0\u201cCesar Borgia\u201d<\/em>da Teresa,\u00a0\u201cVenedik\u2019li Kad\u0131n\u201d<\/em>da Theodora gibi. Bu rollerin i\u00e7inde en \u00f6nemlisi\u00a0\u201cTom Amca\u2019n\u0131n Kul\u00fcbesi\u201d<\/em>ndeki zenci kad\u0131n Elissa Harris\u2019tir. \u00c7ok ge\u00e7imsizdi. \u00d6zellikle Arusyak ve Hra\u00e7ya ile s\u00fcrekli kavga ederlerdi. Osmanl\u0131 \u2013 Rus Sava\u015f\u0131\u2019nda Bengliyan Operet Toplulu\u011fu\u2019na girdi, M\u0131s\u0131r\u2019a gitti. Bu toplulukla Leblebici Horhor, K\u00f6se Kahya, Girofle-Girofla oyunlar\u0131nda oynad\u0131. Daha sonra ekiple Tiflis\u2019e gitti. Orada gazeteler ondan \u00f6vg\u00fcyle s\u00f6z ettiler. Hamlet\u2019te Krali\u00e7e, Venedik Taciri\u2019nde Nerissa\u2019y\u0131 oynad\u0131. 1890\u2019da Kahire\u2019ye ge\u00e7ti. Buradaki rollerinden Catherine Howard\u2019\u0131 biliyoruz. Tiflis\u2019e d\u00f6nd\u00fc. Orada ya\u015fland\u0131 ve 1924\u2019te \u00f6ld\u00fc.<\/p>\n

\n

V<\/strong>erkine Karaka\u015fyan (1856 \u2013 1933)<\/strong><\/p>\n

\u00dcsk\u00fcdar\u2019da do\u011fdu. Aziziye Tiyatrosu\u2019nda 11 ya\u015f\u0131nda Vartan Mamigonyan oyunuyla sahneye \u00e7\u0131kt\u0131. Ablas\u0131n\u0131n aksine \u00e7ok al\u00e7ak g\u00f6n\u00fcll\u00fc ve utanga\u00e7t\u0131. G\u00fczel Ermenice konu\u015fmas\u0131 ve hitabetiyle, halka kendini sevdirmi\u015fti. \u00c7ok g\u00fczel \u015fiirler okurdu. G\u00fcll\u00fc Agop Tiyatrosu\u2019nda\u00a0\u201cBen Lielle\u201d<\/em>de Mitra,\u00a0\u201cDe\u011firmencinin K\u0131z\u0131\u201d<\/em>nda Rose,\u00a0\u201c\u0130htiyar Onba\u015f\u0131\u201d<\/em>da Mariot,\u00a0\u201cTeresa\u201d<\/em>da Amelia, \u201cK\u00fc\u00e7\u00fck Polonya\u201dda Rosa, \u201c\u0130ki \u00c7avu\u015flar\u201dda Laura, \u201cKral E\u011fleniyor\u201dda Blanche; T\u00fcrk\u00e7e oyunlardan\u00a0\u201cZavall\u0131 \u00c7ocuk\u201d<\/em>ta \u015eefika en belirgin rolleridir. 1878\u2019de Bengliyan Operet Toplulu\u011fu\u2019nda operetlerde oynad\u0131.\u00a0\u201cG\u00fczel Helen\u201d<\/em>de Orest,\u00a0\u201cPamela\u201d<\/em>da Justin,\u00a0\u201cMadame Ango\u201d<\/em>da Cleret,\u00a0\u201cFru-Fru\u201d<\/em>da Jilbert,\u00a0\u201cLeblebici\u201d<\/em>de Fatma,\u00a0\u201cK\u00f6se Kahya\u201d<\/em>da G\u00fcl rolleriye operetlerin en aranan y\u0131ld\u0131z\u0131 oldu. Sesi en y\u00fcksek perdelere kadar \u00e7\u0131kard\u0131. 1880\u2019lerde sahnelerden \u00e7ekildi \u0130zmir\u2019de evlenip ailesini kurdu, sonra Yunanistan\u2019a g\u00f6\u00e7t\u00fc, orada \u00f6ld\u00fc.<\/p>\n

\n

Merope Kantarc\u0131yan (Siranu\u015f) (1857 \u2013 1932)<\/strong><\/p>\n

Beyo\u011flu\u2019nda do\u011fdu. Ermeni tiyatrosunun Bedros Atamyan\u2019dan sonra en parlak y\u0131ld\u0131z\u0131 kabul edilir. Kendi k\u00fclt\u00fcr\u00fcne \u00e7ok ba\u011fl\u0131 idi. 1872\u2019de Hortans\u2019\u0131n Kanarya adl\u0131 komedyas\u0131nda hizmet\u00e7i rol\u00fcyle sahneye \u00e7\u0131kt\u0131 ve \u00e7ok be\u011fenildi. Agop Balyan onun i\u00e7in K\u00fc\u00e7\u00fck K\u0131z adl\u0131 bir \u015fiir yazd\u0131, \u00c7uhac\u0131yan da besteledi. 1875\u2019te G\u00fcll\u00fc Agop\u2019un tiyatrosuna girdi, sesi kolorat\u00fcr sopranoydu. Onu \u00c7uhac\u0131yan yeti\u015ftirdi. 1872-73\u2019te Ortak\u00f6y Tiyatrosu\u2019nda\u00a0\u201cKumarbaz\u2019\u0131n Sonu\u201d<\/em>nda Corcetta,\u00a0\u201cDon Cezar De Bazan\u201d<\/em>da\u00a0Lazarion rolleri ve G\u00fczel Helen, Arif\u2019in Hilesi, Girofle-Girofla adl\u0131 operetlerde oynad\u0131. G\u00fcll\u00fc Agop\u2019a ve onun \u00e7al\u0131\u015ft\u0131rma \u015fartlar\u0131na hep kar\u015f\u0131 olmas\u0131na ra\u011fmen bir s\u00fcre Fasulyeciyan\u2019la Bursa\u2019da \u00e7al\u0131\u015ft\u0131ktan sonra 1875\u2019te \u0130stanbul\u2019a d\u00f6n\u00fcp yine G\u00fcll\u00fc Agop Toplulu\u011fu\u2019na girdi. 1878\u2019de Bengliyan Operet Toplulu\u011fu\u2019yla Edirne\u2019ye gitti.<\/p>\n

1879\u2019da Atamyan\u2019la Tiflis\u2019e gitti. 1881\u2019de Atamyan\u2019\u0131n Hamlet\u2019inde Ophelia\u2019y\u0131 oynad\u0131. H\u0131r\u00e7\u0131n K\u0131z\u2019da Catherine, \u015eirvanzade\u2019nin Prenses\u2019inde Hermine\u2019yi oynad\u0131. Daha sonra \u0130stanbul\u2019a d\u00f6nd\u00fc. Tekrar Bengliyan Operet Tiyatrosu\u2019yla M\u0131s\u0131r\u2019a gitti. Leblebici Horhor\u2019da oynad\u0131\u011f\u0131 Fatma rol\u00fcyle ve ayn\u0131 oyundaki rol arkada\u015f\u0131 \u015eazik K\u00f6yl\u00fcyan\u2019la beraber \u00f6zellikle T\u00fcrk \u00e7evrelerinde \u00e7ok sevildi. Daha sonra Kamelyal\u0131 Kad\u0131n\u2019da Marguerite Gautier\u2019yi oynad\u0131.<\/p>\n

Kafkasya\u2019da Shakespeare g\u00f6sterimlerini s\u00fcrd\u00fcrd\u00fc. 1901\u2019de Tiflis\u2019te bir kad\u0131n oyuncu olarak Hamlet rol\u00fcn\u00fc oynad\u0131. Rusya\u2019da y\u0131llarca oyunculuk ve y\u00f6netmenlik yapt\u0131. 1920\u2019lerde \u0130stanbul\u2019a d\u00f6nd\u00fc. 10 y\u0131l sahnelerden uzak kald\u0131. 1932\u2019de M\u0131s\u0131r\u2019da \u00f6ld\u00fc.<\/p>\n

\n

Ast\u011fik Kantarc\u0131yan (Maryam Ast\u011fik) (1852-1884)<\/strong><\/p>\n

Beyo\u011flu\u2019nda do\u011fdu. Siranu\u015f\u2019un ablas\u0131yd\u0131. Di\u011ferleri gibi o da mahalle okuluna gitti.1870-71 d\u00f6neminde G\u00fcll\u00fc Agop\u2019un tiyatrosuna girdi sonra Ma\u011fakyan\u2019a ge\u00e7ti. G\u00fcll\u00fc Agop onun yetene\u011fine inan\u0131yordu. Ona g\u00fcvence vererek tekrar Osmanl\u0131 Tiyatrosu\u2019na ald\u0131. 1878\u2019e kadar orada kald\u0131. Sonra karde\u015fi Siranu\u015f\u2019la Kafkasya\u2019ya gitti. Orada klasik eserlerde rol ald\u0131. 1881\u2019de d\u00f6nd\u00fc, karde\u015fiyle Bengliyan Operet Toplulu\u011fu\u2019na girdi. Kontralto sesine sahipti. Madam Angot\u2019un K\u0131z\u0131, G\u00fczel Helen, Girofle-Girofla adl\u0131 eserlerde oynad\u0131.1884\u2019te a\u011f\u0131r hastaland\u0131 ve \u00f6ld\u00fc.<\/p>\n

\u00a0<\/strong><\/p>\n

Mari Karayan (Mari N\u0131vart) (1853 \u2013 1884)<\/strong><\/p>\n

\u0130stanbul\u2019da do\u011fdu. Fasulyeciyan 1869\u2019da Mari N\u0131vart\u2019\u0131 toplulu\u011funa ald\u0131. Nah\u00e7\u0131van\u2019a gittiler. Orada sahneye \u00e7\u0131kt\u0131. \u0130stanbul\u2019a d\u00f6nd\u00fckten sonra Ma\u011fakyan Toplulu\u011fu\u2019na girdi. Orada kendini g\u00f6sterdi. 1874\u2019te bu toplulu\u011fun da\u011f\u0131lmas\u0131yla Osmanl\u0131 Tiyatrosu\u2019na girdi, be\u015f y\u0131l \u00e7al\u0131\u015ft\u0131. Yeranuhi Karaka\u015fyan\u2019\u0131n g\u00f6steri\u015fli ve abart\u0131l\u0131 oyununa kar\u015f\u0131l\u0131k, Mari N\u0131vart \u00e7ok i\u00e7ten bir oyunculuk sergilerdi. Bu y\u00fczden onu sevmeyen G\u00fcll\u00fc Agop\u2019la, onun oyunculu\u011funu savunan M\u0131nakyan aras\u0131nda kavga hi\u00e7 eksik olmuyordu. Toplulu\u011fun y\u00f6netimi M\u0131nakyan\u2019a ge\u00e7ince Mari N\u0131vart rahatlad\u0131. Halk onu \u00e7ok severdi. \u00c7\u00fcnk\u00fc sahnede rol gere\u011fi a\u011flamas\u0131 gerekti\u011finde ger\u00e7ekten a\u011flar, bay\u0131lmas\u0131 gerekti\u011finde ger\u00e7ekten bay\u0131l\u0131rd\u0131. M\u0131nakyan Toplulu\u011fu\u2019nda ba\u015far\u0131s\u0131 k\u0131sa s\u00fcrd\u00fc. Yazar \u015eemseddin Sami ona a\u015f\u0131k olmu\u015ftu. Onunla bir ba\u011f kurmak istiyordu. Mari N\u0131vart ondan uzakla\u015fabilmek i\u00e7in Tiflis\u2019e gitti. Orada bir\u00e7ok oyunda oynad\u0131.1882\u2019de \u0130stanbul\u2019a d\u00f6nd\u00fc. M\u0131nakyan Tiyatrosu\u2019nda yaln\u0131z T\u00fcrk\u00e7e oynad\u0131. Marguerite Gautier onun ba\u015fl\u0131ca rol\u00fcyd\u00fc. Son g\u00f6sterimin finalinde seyirci alk\u0131\u015flarla onu sahneye \u00e7a\u011f\u0131rd\u0131. Ama o gelemedi \u00e7\u00fcnk\u00fc \u00f6lm\u00fc\u015ft\u00fc. \u00d6l\u00fcm\u00fcnden sonra Arpiar Arpiaryan onun ad\u0131na\u00a0\u201cA\u011flayan Sanat\u00e7\u0131\u201d<\/em>ad\u0131nda bir hikaye yazd\u0131. Bu hikaye 1887\u2019de Masis dergisinde yay\u0131nland\u0131.<\/p>\n

\n

Koharik \u015eirinyan (1860 – ???)<\/strong><\/p>\n

Kumkap\u0131\u2019da do\u011fdu. Kendi halinde sessiz bir ki\u015fili\u011fi vard\u0131. 1869\u2019da sahneye \u00e7\u0131kt\u0131. 1874\u2019te G\u00fcll\u00fc Agop\u2019a kat\u0131ld\u0131. Sesi tenora yak\u0131nd\u0131. Operetlerde erkek rollerine \u00e7\u0131kt\u0131. 1882\u2019de Bengliyan\u2019la \u00e7al\u0131\u015ft\u0131. Leblebici Horhor, Girofle-Girofla\u2019da oynad\u0131. Erkek rolleri aras\u0131nda B\u00fcy\u00fck Mo\u011fol\u2019da Prens Minyapur\u2019u oynad\u0131. Bengliyan Operet Toplulu\u011fu\u2019nun da\u011f\u0131lmas\u0131ndan sonra Demirhane M\u00fcd\u00fcr\u00fc, Frou-Frou gibi oyunlarda dramatik rollere \u00e7\u0131kt\u0131. 1900\u2019lerin ba\u015f\u0131nda Re\u015fat R\u0131dvan Bey\u2019in Osmanl\u0131 Komedya Toplulu\u011fu\u2019nda bir s\u00fcre \u00e7al\u0131\u015ft\u0131.\n<\/p>\n

Aznif Hra\u00e7ya (1853 \u2013 1920)<\/strong><\/p>\n

\u0130stanbul\u2019da do\u011fdu. Daha \u00e7ok Rusya ve Kafkasya\u2019da tan\u0131nm\u0131\u015ft\u0131r. Ermeni tiyatrosunun geli\u015fmesine \u00f6nem verdi. 1869-1879 y\u0131llar\u0131 aras\u0131nda \u0130stanbul\u2019da daha \u00e7ok \u015eark Tiyatrosu\u2019nda \u00e7al\u0131\u015ft\u0131. Berdos Ma\u011fakyan\u2019\u0131n zorlamas\u0131yla 1869\u2019da Kahraman Hayk oyununda Hayganu\u015f rol\u00fcyle sahneye \u00e7\u0131kt\u0131. Rol arkada\u015f\u0131 20 ya\u015f\u0131ndaki Bedros Atamyan\u2019d\u0131. 1870\u2019de G\u00fcll\u00fc Agop Tiyatrosu\u2019na girdi, bir s\u00fcre sonra ayr\u0131ld\u0131. Ma\u011fakyan\u2019la Ortak\u00f6y\u2019de \u00e7al\u0131\u015ft\u0131. Rol arkada\u015f\u0131 genellikle Atamyan\u2019d\u0131. En iyi rolleri aras\u0131nda\u00a0“Catherine Howard”<\/em>\u00a0ve\u00a0“Alp Da\u011flar\u0131ndaki \u00c7oban K\u0131z\u0131”<\/em>\u00a0say\u0131labilir. 1878\u2019te evlendi. Bir s\u00fcre tiyatrodan uzak kald\u0131. Osmanl\u0131-Rus Sava\u015f\u0131\u2019nda Edirne\u2019ye gidip, genellikle T\u00fcrk\u00e7e oynad\u0131. Vatan yahut Silistre\u2019deki Zekiye rol\u00fcyle \u00e7ok ba\u015far\u0131l\u0131 oldu. Tiflis\u2019e gitti. Schiller, Shakespeare, Lermatov gibi yazarlar\u0131n oyunlar\u0131nda, ger\u00e7ek\u00e7i tiyatroyla tan\u0131\u015ft\u0131. \u0130stanbul\u2019a d\u00f6nd\u00fc, Kamelyal\u0131 Kad\u0131n\u2019la \u00e7ok ba\u015far\u0131l\u0131 oldu. Tiflis\u2019e \u00e7a\u011f\u0131r\u0131ld\u0131. Orada \u00e7ok hastalanmas\u0131na kar\u015f\u0131n Bak\u00fc\u2019de sahneye \u00e7\u0131kt\u0131. 1903\u2019e kadar hastanelerde yatt\u0131. I.D\u00fcnya Sava\u015f\u0131\u2019ndan sonra iyile\u015fmek i\u00e7in Dilican\u2019a gitti, orada \u00f6ld\u00fc.<\/p>\n

\n

Bistos Araksiya (1852-1882)<\/strong><\/p>\n

Beyo\u011flu\u2019nda do\u011fdu. Sahne ya\u015fam\u0131na 11 ya\u015f\u0131nda Osmanl\u0131 Tiyatrosu\u2019nda ba\u015flad\u0131.1863\u2019te \u015eark Tiyatrosu\u2019na girdi, orada \u00e7ok az kald\u0131. \u00d6nemli rollere Naum Tiyatrosu\u2019nda \u00e7\u0131kt\u0131. Karaka\u015fyan ve Mari N\u0131vart\u2019\u0131n g\u00fc\u00e7l\u00fc ki\u015filikleri kar\u015f\u0131s\u0131nda kendini g\u00f6steremedi. Moli\u00e8re\u2019in Georges Dandin oyunundaki Angelique ve Pamela\u2019da \u00e7ok ba\u015far\u0131l\u0131 oldu. Bedros Turyan ona a\u015f\u0131k olmu\u015ftu ve\u00a0\u201cTapay\u0131m B.\u201d<\/em>\u00a0adl\u0131 bir \u015fiir yazm\u0131\u015ft\u0131. Bengliyan ile \u00e7e\u015fitli \u015fehirleri dola\u015ft\u0131. Edirne\u2019de bir Musevi toplulu\u011fuyla \u00e7al\u0131\u015ft\u0131. 1882\u2019de \u00e7\u0131ld\u0131rarak \u00f6ld\u00fc.<\/p>\n

\n

Takvor Nalyan (1843 \u2013 1876)<\/strong><\/p>\n

Hask\u00f6y\u2019de do\u011fdu. Surp P\u0131rgi\u00e7\u2019te e\u011fitimini ald\u0131ktan sonra bir s\u00fcre \u0130stanbul\u2019da \u00f6\u011fretmenlik yapt\u0131. 1865-68\u2019de M\u0131s\u0131r\u2019a gitti, orada misafir \u00f6\u011fretmenlik yapt\u0131, \u0130stanbul\u2019a d\u00f6nd\u00fc. G\u00fcll\u00fc Agop\u2019un Gedikpa\u015fa\u2019daki tiyatrosuna girdi. \u0130ki \u00c7avu\u015flar, Rikkat, Monte Christo, Lion Postas\u0131, \u0130\u011freti Sa\u00e7 gibi bir \u00e7ok melodramda oynad\u0131. Operetlerde bariton olarak yer ald\u0131. \u0130yi Frans\u0131zca, T\u00fcrk\u00e7e ve Ermenice bilirdi. Bir \u00e7ok eseri T\u00fcrk\u00e7e\u2019ye \u00e7evirdi. G\u00fczel Helen, Telemak Cupidon Tap\u0131na\u011f\u0131nda gibi \u00e7evirileri ba\u015fka topluluklarda da oynand\u0131. T\u00fcrk folklorunu iyi bildi\u011finden Leblebici Horhor A\u011fa yazd\u0131\u011f\u0131 en iyi metinlerdendi. Daha sonra Ermenice\u2019ye \u00e7evrildi. Ne yaz\u0131k ki bu \u00f6nemli sanat\u00e7\u0131 da gen\u00e7 ya\u015fta veremden \u00f6ld\u00fc.<\/p>\n

\n

Dikran Tosbatyan (1852 – ???)<\/strong><\/p>\n

\u00dcsk\u00fcdar\u2019da do\u011fdu. \u0130lk \u00f6\u011frenimini \u00dcsk\u00fcdar ve Kumkap\u0131\u2019daki okullarda yapt\u0131. Babas\u0131n\u0131n i\u015flerinin k\u00f6t\u00fcle\u015fmesiyle \u00f6nce Konya\u2019ya sonra \u015eebinkarahisar\u2019a yerle\u015fti. Babas\u0131n\u0131n tek amac\u0131 o\u011flunu bir din adam\u0131 olarak yeti\u015ftirmekti. Kilise korolar\u0131n\u0131n vazge\u00e7ilmez bir eleman\u0131 oldu. Hayat\u0131 kilisede ge\u00e7meye ba\u015flad\u0131. Sonunda bu y\u00fck\u00fcn a\u011f\u0131rl\u0131\u011f\u0131na dayanamayarak \u0130stanbul\u2019a ka\u00e7t\u0131. 1870\u2019de Dikran Kalemciyan\u2019\u0131n yard\u0131m\u0131yla Osmanl\u0131 Tiyatrosu\u2019na girdi. 10 y\u0131l\u0131n\u0131 orada ge\u00e7irdi. T\u00fcrk\u00e7e oynamamak i\u00e7in hep direndi ve hep Ermenice oyunlarda oynad\u0131. \u0130lk oynad\u0131\u011f\u0131 oyun Aznif Hra\u00e7ya ile Tahta K\u0131l\u0131\u00e7\u2019t\u0131. B\u00fcy\u00fck D\u0131rtad, Arda\u015fes gibi Ermenice oyunlarda b\u00fcy\u00fck ba\u015far\u0131lar kazand\u0131. Perde aralar\u0131nda s\u00f6yledi\u011fi\u00a0\u201cHafif Me\u015freb A\u015f\u0131k\u201d<\/em>\u00a0\u015fark\u0131s\u0131 \u00e7ok tutuldu. K\u00f6r Diran, Sezar Borgia, Ben Lielle,<\/p>\n

Bayan Saint Tpropez, Ya\u015fl\u0131 Onba\u015f\u0131, \u0130ki \u00c7avu\u015flar, Katerin Howard, Kamelyal\u0131 Kad\u0131n ve Monte Christo\u2019da \u00f6nemli roller \u00fcstlendi. \u00c7ok sa\u011flam yap\u0131l\u0131, uzun boylu, g\u00fcr sesli bir sanat\u00e7\u0131yd\u0131. 1877-1880 y\u0131llar\u0131 aras\u0131nda Rodos, Edirne, \u0130zmir, Selanik\u2019e, Bengliyan ve Vartovyan\u2019la turnelere \u00e7\u0131kt\u0131. 1880\u2019de T\u00fcrk\u00e7e oynamak istemedi\u011fi i\u00e7in sahneden \u00e7ekildi. Son y\u0131llar\u0131 karanl\u0131kta kalm\u0131\u015ft\u0131r. G\u00fcll\u00fc Agop d\u00f6neminde tek t\u00fck T\u00fcrk\u00e7e oyunlarda oynam\u0131\u015f ama M\u0131nakyan devrinde direnmi\u015ftir. Ekibin da\u011f\u0131lmas\u0131yla yurtd\u0131\u015f\u0131na \u00e7\u0131km\u0131\u015f, Fasulyeciyan\u2019\u0131n davetiyle Bursa\u2019ya gelmi\u015f ve \u00fc\u00e7 y\u0131l orada \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. 1885\u2019te sahnelerden \u00e7ekildi. Kesin olmamakla birlikte 1900\u2019den sonra \u00f6ld\u00fc\u011f\u00fc s\u00f6ylenmektedir.<\/p>\n

\n

Manuk Sisak (1839 \u2013 1897)<\/strong><\/p>\n

Kuzguncuk\u2019ta do\u011fdu. B\u00fcnyesi \u00e7ok zay\u0131ft\u0131. \u00c7ocuklu\u011fu hastal\u0131klarla ge\u00e7ti. Mahalle okulundaki ilk \u00f6\u011freniminden sonra 1861\u2019de tiyatroya girdi. 1862\u2019de arkada\u015flar\u0131 ile\u00a0\u201cErmeni Dostlar\u0131\u201d<\/em>\u00a0adl\u0131 bir topluluk kurdu. 1866\u2019ya kadar Kuzguncuk\u2019ta daha \u00e7ok tarihi oyunlarda oynad\u0131. O devirde oynad\u0131\u011f\u0131 oyunlardan en \u00f6nemlisi okulun salonunda sahnelenen B\u00fcy\u00fck Vartan Trajedisi\u2019dir. O zamana kadar basit e\u011flenceler olarak kabul ettikleri i\u00e7in hi\u00e7bir tiyatro oyununa gitmeyen ruhaniler, Patrik Sarkis Episkopos, Mesrop Sukyasyan ve Vartabet Krikoris Hovannesyan ilk kez bir tiyatro temsiline gittiler ve hayranl\u0131kla seyrettiler.<\/p>\n

1867-1873 d\u00f6neminde Aziziye, Naum ve Ortak\u00f6y tiyatrolar\u0131nda g\u00f6sterimlere kat\u0131ld\u0131. \u015eark Tiyatrosu\u2019nda \u00e7al\u0131\u015ft\u0131. 1872-73\u2019te Ma\u011fakyan Toplulu\u011funa girdi. Bu topluluk da\u011f\u0131l\u0131nca M\u0131nakyan ba\u015fkanl\u0131\u011f\u0131ndaki Osmanl\u0131 Tiyatrosu\u2019na girdi. Uzun y\u0131llar orada \u00e7al\u0131\u015ft\u0131. Daha \u00e7ok k\u00f6t\u00fc ve hain rollerine \u00e7\u0131kard\u0131. \u00d6zel ya\u015fam\u0131nda d\u00fcr\u00fcst ve a\u011f\u0131rba\u015fl\u0131 bir insand\u0131. En sivrildi\u011fi rol Kamelyal\u0131 Kad\u0131n\u2019da, Baba Duvall rol\u00fcd\u00fcr. 1880-81\u2019de Ortak\u00f6y\u2019de oynad\u0131. \u00d6l\u00fcm\u00fcne kadar orada \u00e7al\u0131\u015ft\u0131. Veremden \u00f6ld\u00fc. Hastal\u011f\u0131 s\u00fcresince M\u0131nakyan ve ekibi ona yard\u0131m\u0131 hi\u00e7 kesmediler. Her zaman destek olmaya \u00e7al\u0131\u015ft\u0131lar. Cenaze t\u00f6reni so\u011fuk bir k\u0131\u015f g\u00fcn\u00fc Kuzguncuk\u2019taki k\u00fc\u00e7\u00fck bir kilisede \u00e7ok kalabal\u0131k bir toplulukla yap\u0131ld\u0131. Cenazede devrin Patri\u011fi tabutun ba\u015f\u0131nda \u00e7ok uzun ve \u00f6vg\u00fc dolu bir konu\u015fma yapt\u0131. Ama onun tiyatrocu ki\u015fili\u011finden hi\u00e7 bahsetmedi. Bunun \u00fczerine cenaze \u00e7\u0131k\u0131\u015f\u0131nda M\u0131nakyan, bundan duydu\u011fu rahats\u0131zl\u0131\u011f\u0131 \u015f\u00f6yle dile getirmi\u015ftir:<\/p>\n

\u201cBu adam (Patrik) bir kez daha \u00f6l\u00fcms\u00fcz Sisak\u2019\u0131m\u0131z\u0131 \u00f6ld\u00fcrmek istedi.\u201d<\/em><\/p>\n

\n

Istepan Ek\u015fiyan (1834-1901)<\/strong><\/p>\n

\u0130stanbul\u2019da do\u011fdu. K\u00fc\u00e7\u00fck ya\u015fta Paris\u2019e gitti. Murat Rafaelyan\u2019da okudu. \u00d6\u011frenimini yar\u0131da b\u0131rakarak \u0130stanbul\u2019a d\u00f6nd\u00fc. \u00d6zel dersler ald\u0131. K\u0131r\u0131m sava\u015f\u0131nda askeri terc\u00fcman olarak \u00e7al\u0131\u015ft\u0131. Sonra tekrar Paris\u2019e gitti, d\u00f6n\u00fc\u015f\u00fcnde Ortak\u00f6y\u2019deki g\u00f6sterimlere y\u00f6netici olarak kat\u0131ld\u0131. Bir \u00e7ok gen\u00e7 k\u0131z\u0131 sahneye kazand\u0131rd\u0131. Arusyak Papazyan\u2019la \u00e7ok iyi bir ikili olu\u015fturdu. Bir s\u00fcre \u0130zmir\u2019de Vaspuragan Toplulu\u011fu\u2019nda \u00e7al\u0131\u015ft\u0131. Bir\u00a0Kumarbaz\u0131n Otuz Senesi, Manast\u0131r De\u011firmen, Aristodem, Hastal\u0131k Hastas\u0131 gibi oyunlarda oynad\u0131. 1867-68\u2019de \u0130stanbul\u2019a d\u00f6nd\u00fc. Arusyak Papazyan\u2019la \u015eark Tiyatrosu\u2019nu yeniden canland\u0131rmaya \u00e7al\u0131\u015ft\u0131. 1869 y\u0131l\u0131nda Timurlenk, Sappho, II.Ar\u015fak, VI. Levon, Vartan Mamigonyan gibi eserleri sahneye koydu ve oynad\u0131. Denebilir ki \u00f6nemli Ermeni tiyatrocular i\u00e7inde sadece Arusyak Papazyan ile Ek\u015fiyan, G\u00fcll\u00fc Agop\u2019la i\u015fbirli\u011finden ka\u00e7\u0131nm\u0131\u015flar ve ondan uzak durmu\u015flard\u0131r. 1880\u2019de Tiflis\u2019e gitti. M\u0131\u015fdagan Toplulu\u011fu ile melodramlar oynad\u0131. Ya\u015f\u0131 ilerledi ve yava\u015f yava\u015f unutulmaya ba\u015fland\u0131.<\/p>\n

\n

Bedros Ma\u011fakyan (1826 \u2013 1891)<\/strong><\/p>\n

\u0130stanbul\u2019da do\u011fdu. Kundurac\u0131l\u0131kla hayata at\u0131ld\u0131. K\u00fc\u00e7\u00fck ya\u015fta tiyatroya ilgi duydu. Avrupa\u2019dan gelen topluluklar\u0131 izleyerek kendini yeti\u015ftirdi. 1856-57 d\u00f6neminde Ermeni tiyatro \u00e7al\u0131\u015fmalar\u0131 ba\u015flad\u0131\u011f\u0131nda Hekimyan ve Be\u015fikta\u015fl\u0131yan\u2019la irtibata ge\u00e7ti. \u015eark Tiyatrosu\u2019nun ilk g\u00f6sterisi olan \u0130ki \u00c7avu\u015flar\u2019da cezaevi m\u00fcd\u00fcr\u00fc rol\u00fc ile ad\u0131n\u0131 duyurdu. Daha sonra y\u00f6netmen olarak \u00e7ok sevildi. G\u00fcll\u00fc Agop\u2019un en \u00f6nemli kar\u015f\u0131tlar\u0131ndand\u0131. Repertuar\u0131nda tamamen Ermenice eserlere yer verdi. Kral E\u011fleniyor, Serseri Yahudi gibi oyunlardaki rolleriyle \u00e7ok ba\u015far\u0131l\u0131 oldu. Atamyan, Hra\u00e7ya gibi se\u00e7kin sanat\u00e7\u0131larla Ortak\u00f6y ve Beyo\u011flu\u2019ndaki tiyatro hayat\u0131n\u0131 yeniden canland\u0131rmaya \u00e7al\u0131\u015ft\u0131. 1878\u2019e kadar \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. Ancak siyasal nedenlerle yine kundurac\u0131l\u0131\u011fa d\u00f6nd\u00fc. 1888\u2019de Atamyan\u2019\u0131n d\u00f6n\u00fc\u015f\u00fcyle yeniden tiyatroya girdi ve yeni bir topluluk kurdu. Art\u0131k ortam ulusal Ermeni tiyatrosu i\u00e7in \u00e7ok de\u011fi\u015fmi\u015fti. Umutsuzlu\u011fa kap\u0131ld\u0131. Rus hastanesinde \u00f6l\u00fcmle pen\u00e7ele\u015fen Atamyan\u2019a yard\u0131m i\u00e7in bir g\u00f6steri d\u00fczenlemek istedi ama buna \u00f6mr\u00fc yetmedi.<\/p>\n

\n

Ha\u00e7ik Papazyan (1845-1877)<\/strong><\/p>\n

Balat\u2019ta do\u011fdu. K\u00fc\u00e7\u00fck ya\u015fta yetim kald\u0131. \u00dcsk\u00fcdar\u2019da yoksul teyzesinin yan\u0131na gitti. Kom\u015fular\u0131n yard\u0131m\u0131yla Surp P\u0131rgi\u00e7\u2019te e\u011fitim g\u00f6rd\u00fc. Orada Takvor Nalyan\u2019la \u00e7ok samimi arkada\u015f oldular. 1865-66\u2019da \u00dcsk\u00fcdar\u2019da \u00f6\u011fretmenlik yapt\u0131. Nalyan, G\u00fcll\u00fc Agop\u2019un ekibine kabul edilince, Papazyan da arkas\u0131ndan ba\u015fvurup kabul edildi. 1867\u2019de ilk kez Gedikpa\u015fa\u2019da sahneye \u00e7\u0131kt\u0131. 1870\u2019de Fasulyeciyan\u2019la Kafkasya\u2019ya gitti. Orada Bedros Atamyan\u2019la \u00e7al\u0131\u015ft\u0131. \u0130stanbul\u2019a d\u00f6nd\u00fc. 1872-73\u2019te Ortak\u00f6y sahnesinde \u00e7al\u0131\u015ft\u0131. Ma\u011fakyan\u2019\u0131n i\u015flerinin k\u00f6t\u00fcle\u015fmesinden sonra, tekrar G\u00fcll\u00fc Agop\u2019a ge\u00e7ti. En \u00f6nemli rollerini burada oynad\u0131. Bunlar aras\u0131nda Sezar Borgia, Bayan Saint Tropez, \u0130ki \u00c7avu\u015flar, Ya\u015fl\u0131 Onba\u015f\u0131, Monte Christo, K\u00f6r Diran, B\u00fcy\u00fck Drtad gibi oyunlar\u0131 sayabiliriz. Oynad\u0131\u011f\u0131 b\u00fct\u00fcn rollere ki\u015fisel yorumunu da katarak karakterleri ger\u00e7ek ki\u015filikler haline getirdi. Hi\u00e7bir zaman aile hayat\u0131 olmad\u0131. \u00c7ok k\u00f6t\u00fc \u015fartlarda yo\u011fun bir \u015fekilde \u00e7al\u0131\u015ft\u0131\u011f\u0131ndan verem oldu. Kumkap\u0131\u2019da k\u00fc\u00e7\u00fck bir kul\u00fcbede so\u011fuk ve a\u00e7l\u0131kla m\u00fccadele ederek, ila\u00e7s\u0131z doktorsuz, sefil bir \u015fekilde \u00f6ld\u00fc. \u00d6ld\u00fc\u011f\u00fcnde b\u00fct\u00fcn dostlar\u0131 tela\u015fland\u0131lar ve b\u00fcy\u00fck bir cenaze t\u00f6reniyle Bal\u0131kl\u0131 Mezarl\u0131\u011f\u0131\u2019na defnettiler. Bug\u00fcn mezar ta\u015f\u0131 olmad\u0131\u011f\u0131ndan yeri belli de\u011fildir.<\/p>\n

\n

Arusyak Papazyan (1841 \u2013 1807)<\/strong><\/p>\n

Kumkap\u0131\u2019da do\u011fdu. \u00d6\u011frenimini Kumkap\u0131 Surp Lusavori\u00e7yan Okulunda tamamlad\u0131ktan sonra 1857\u2019de ayn\u0131 okula \u00f6\u011fretmen oldu. Bir y\u0131l sonra Hekimyan ba\u015fkanl\u0131\u011f\u0131ndaki Naum Tiyatrosu\u2019na girdi. \u00c7ok \u00f6nemli ve zor roller \u00fcstlendi. Karde\u015fi A\u011favni\u2019yi de yan\u0131na alarak Ek\u015fiyan Kumpanyas\u0131 ile \u0130zmir\u2019e gitti. A\u011favni evlendikten sonra A\u011favni Valideyan ad\u0131yla G\u00fcll\u00fc Agop\u2019ta bir s\u00fcre \u00e7al\u0131\u015ft\u0131. Arusyak 1863-64 y\u0131llar\u0131nda Acemyan ba\u015fkanl\u0131\u011f\u0131nda Naum sahnesinde Mariam Dza\u011fikyan ve Dikran Sancak\u00e7\u0131yan ile; Medea, Francesca da Rimini gibi terc\u00fcmelerde oynad\u0131. Fakat bu ekip bir yandan Gedikpa\u015fa\u2019daki G\u00fcll\u00fc Agop, di\u011fer yandan \u015eark Tiyatrosu\u2019nun rekabetine dayanamayarak da\u011f\u0131ld\u0131. 1868 y\u0131l\u0131nda Yeranuhi Karaka\u015fyan, halk taraf\u0131ndan \u201c\u00c7ok Be\u011fenilen En B\u00fcy\u00fck Star\u201d olunca tiyatro sahnesinden \u00e7ekildi. En \u00f6nemli rollerinden biri Angelo Malipieri\u2019deki Tizbe karakteridir. Antigone\u2019de \u00e7ok ba\u015far\u0131l\u0131 olmu\u015ftur.<\/p>\n

\u00c7ok zengin bir kuyumcu olan Sepon Bezirciyan ile evlenmesine ra\u011fmen kocas\u0131n\u0131n onu terketmesiyle \u00e7ok sefil bir hayat s\u00fcrd\u00fc. \u00dcnl\u00fc oldu\u011funda kendisine hediye edilen m\u00fccevherlerini satarak ge\u00e7imini sa\u011flad\u0131. Son y\u0131llar\u0131nda \u00dcsk\u00fcdar\u2019da bir kul\u00fcbede dilenerek hayat\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. Bir s\u00fcre sonra Yedikule Hastanesi\u2019nin t\u0131marhanesinde sefalet i\u00e7inde \u00f6ld\u00fc.<\/p>\n

\n

\u015eazik K\u00f6yl\u00fcyan (1854-???)<\/strong><\/p>\n

Beyo\u011flu\u2019nda do\u011fdu. B\u00fcy\u00fck Beyo\u011flu yang\u0131n\u0131nda ailesi her\u015feyini kaybetti. O da ailesine yard\u0131m etmek i\u00e7in gece g\u00fcnd\u00fcz \u00e7al\u0131\u015fmaya ba\u015flad\u0131. Bir g\u00fcn tek g\u00f6z evlerinde dertli dertli \u015fark\u0131 s\u00f6ylerken kap\u0131dan ge\u00e7en Ma\u011fakyan bu sesi \u00e7ok be\u011fendi ve hemen kendilerini ziyaret etti. Uzun bir u\u011fra\u015ftan sonra k\u0131z\u0131n\u0131n tiyatroda oynamas\u0131na izin vermesi i\u00e7in annesini ikna etti. B\u00f6ylece tiyatro hayat\u0131 ba\u015flad\u0131. G\u00fcll\u00fc Agop Tiyatrosu\u2019nda Ma\u011fakyan\u2019dan okuma-yazma, Dikran \u00c7uhac\u0131yan\u2019dan da m\u00fczik dersleri ald\u0131. Arif\u2019in Hilesi\u2019nde Meryem rol\u00fcyle sahneye \u00e7\u0131kt\u0131.<\/p>\n

\u00c7ok ba\u015far\u0131l\u0131 oldu. Daha sonra 1878\u2019de Leblebici\u2019de Fatma, K\u00f6se Kahya\u2019da G\u00fcl rol\u00fcyle \u00e7ok be\u011fenildi. \u00c7engiler, Zeybekler, Karnaval Gelini, Pembe K\u0131z gibi operet ve vodvillerde rol ald\u0131.<\/p>\n

\n

Mikael \u00c7aprast (1848 \u2013 1907)<\/strong><\/p>\n

B\u00fckre\u015f\u2019te do\u011fdu. 1853\u2019te \u0130stanbul\u2019a geldi. Babas\u0131n\u0131n Ermenice \u00f6\u011fretmenli\u011fi yapt\u0131\u011f\u0131 Surp P\u0131rgi\u00e7 okulunda babas\u0131n\u0131n zorlamas\u0131yla, daha sonra da \u00e7e\u015fitli okullarda \u00f6\u011frenimini s\u00fcrd\u00fcrmeye \u00e7al\u0131\u015ft\u0131. Dokuz ya\u015f\u0131nda annesinin \u00f6l\u00fcm\u00fcyle karde\u015fine yard\u0131m etmek i\u00e7in okulu b\u0131rakt\u0131. Bir \u00e7ok i\u015fe girdi, hi\u00e7birinde ba\u015far\u0131l\u0131 olamad\u0131. Belli bir ya\u015fa geldikten sonra dans \u00f6\u011fretmenli\u011fi yapt\u0131. Oyuncu Ha\u00e7ik Papazyan\u2019\u0131n \u0131srar\u0131yla \u00dcsk\u00fcdar Aziziye Tiyatrosu\u2019nda Voltaire\u2019nin bir oyununda sahneye \u00e7\u0131kmas\u0131yla tiyatro hayat\u0131 ba\u015flad\u0131. 1869-1877 y\u0131llar\u0131 aras\u0131nda bir \u00e7ok oyunda genelde ikinci s\u0131n\u0131f rollerde \u00e7ok ba\u015far\u0131l\u0131 oldu. Bunlar aras\u0131nda\u00a0\u201cSaat\u00e7inin \u015eapkas\u0131\u201d<\/em>nda Johnny,\u00a0\u201c\u0130ki Sa\u011f\u0131rlar\u201d<\/em>da Don Voailo,\u00a0\u201cDeli Doktoru\u201d<\/em>nda Amca,\u201cNiks Niks\u201d<\/em>te \u0130htiyar\u2019\u0131 sayabiliriz. 1877\u2019de G\u00fcll\u00fc Agop\u2019la Selanik\u2019e gitti. Bir s\u00fcre sonra anla\u015famay\u0131p bir grup oyuncuyla Rodos\u2019a gitti. G\u00fcll\u00fc Agop \u0130stanbul\u2019a d\u00f6nd\u00fc. \u00c7aprast \u0130stanbul\u2019a d\u00f6n\u00fcnce tekrar G\u00fcll\u00fc Agop\u2019a kat\u0131ld\u0131. Yine anla\u015famad\u0131lar ve bir grup oyuncuyla Edirne\u2019ye gitti. Daha sonra Bengliyan Operet Kumpanyas\u0131\u2019na kat\u0131ld\u0131. \u00c7e\u015fitli ekiplerle bir \u00e7ok \u015fehirde \u00e7al\u0131\u015ft\u0131. Adana\u2019da tekrar dans \u00f6\u011fretmenli\u011fine ba\u015flad\u0131, tiyatro oyunculu\u011funu da s\u00fcrd\u00fcrerek, \u00e7e\u015fitli m\u00fczikallerde oynad\u0131. 1880\u2019de yol paras\u0131n\u0131 toparlay\u0131nca \u0130stanbul\u2019a d\u00f6nd\u00fc. Tekrar G\u00fcll\u00fc Agop\u2019a kat\u0131larak \u00dcsk\u00fcdar ve \u015eahzadeba\u015f\u0131nda \u00e7e\u015fitli komedilerde oynad\u0131. 1907\u2019de vefat eden oyuncu \u00dcsk\u00fcdar mezarl\u0131\u011f\u0131na g\u00f6m\u00fcld\u00fc.\n<\/p>\n

Harutyun Aleksanyan (1857-1917)<\/strong><\/p>\n

Bursa\u2019da do\u011fdu. Yedi ya\u015f\u0131nda \u0130stanbul\u2019a geldi. 1871\u2019de Surp P\u0131rgi\u00e7 okulundan mezun oldu. Okuldayken \u00f6\u011frenci tiyatrolar\u0131nda oynad\u0131. G\u00fcll\u00fc Agop\u2019a kendisini kabul etmesi i\u00e7in ba\u015fvurdu ama kabul edilmedi. \u015eans\u0131n\u0131 M\u0131nakyan\u2019da denedi, gruba kat\u0131lamad\u0131. \u00c7abalamaktan vazge\u00e7medi. Tiyatronun emektarlar\u0131ndan Kalust Liceli\u2019yi bulup, durumunu ona anlatt\u0131. Liceli\u2019nin \u0131srar\u0131yla G\u00fcll\u00fc Agop, Aleksanyan\u2019a bir kez \u015fans verir. O da ikinci Ar\u015fak\u2019tan Nerses\u2019in tirad\u0131n\u0131 okur. G\u00fcll\u00fc Agop \u00e7ok be\u011fenir ve b\u00f6ylece 1878\u2019de kadrosuna al\u0131r. K\u0131sa s\u00fcrede \u00e7ok \u00f6nemli roller \u00fcstlenir. 1880-81\u2019de Bursa\u2019ya gider, Fasulyeciyan\u2019a kat\u0131l\u0131r. \u0130stanbul\u2019a d\u00f6n\u00fc\u015f\u00fcnde M\u0131nakyan\u2019la \u00e7al\u0131\u015fmaya ba\u015flar. En verimli devresi bu d\u00f6nemdir. Oynad\u0131\u011f\u0131 \u00f6nemli rollerden baz\u0131lar\u0131\u00a0\u201cMumdan Heykel\u201d<\/em>de Rodil,\u00a0\u201cFakir Delikanl\u0131\u201d<\/em>da Buasan,\u00a0\u201cKumarbaz\u0131n Sonu\u201d<\/em>nda Varnell,\u00a0\u201cSimon ve Marie\u201d<\/em>de Moris Vasseur,\u00a0\u201cMisk Soka\u011f\u0131 Cinayeti\u201d<\/em>nde Valger,\u00a0\u201cEkmek\u00e7i Kad\u0131n\u201d<\/em>da Jack\u2019t\u0131r. 1883\u2019te Kafkasya\u2019ya oradan da Bak\u00fc\u2019ye ge\u00e7ti. Rus Ermenileri\u2019ne uygun bir repertuar se\u00e7medi\u011fi i\u00e7in ba\u015far\u0131l\u0131 olamad\u0131 ve \u0130stanbul\u2019a d\u00f6nd\u00fc. 1897\u2019de M\u0131s\u0131r\u2019a gitti. Serope Bengliyan ve Yevkine Karaka\u015fyan ile ba\u015far\u0131l\u0131 bir devre ge\u00e7irdi, \u0130stanbul\u2019a d\u00f6nd\u00fc ve orada \u00f6ld\u00fc. Gelelim Ermeni tiyatrocular aras\u0131nda en pop\u00fcler olmu\u015f sanat\u00e7\u0131ya. Hagop Vartovyan, veya herkesin bildi\u011fi ad\u0131yla G\u00fcll\u00fc Agop, sonralar\u0131 da G\u00fcll\u00fc Yakup.<\/p>\n

\u015earasan\u2019a g\u00f6re e\u011fer Agop Efendi\u2019nin yeterli tahsili olsayd\u0131, bir bankay\u0131 y\u00f6netebilirdi. Ama tiyatro kumpanyas\u0131n\u0131 asla y\u00f6netememi\u015ftir. K\u00f6t\u00fc bir fabrikat\u00f6r mant\u0131\u011f\u0131yla her sanat\u00e7\u0131 i\u00e7in \u00f6zel olarak haz\u0131rlad\u0131\u011f\u0131 s\u00f6zle\u015fme, bunun en belirgin \u00f6rne\u011fidir. K\u0131sa zamanda M\u0131nakyan, R\u0131\u015ftuni, Papazyan, Tosbatyan, Nalyan gibi b\u00fct\u00fcn iyi oyuncular\u0131 kadrosunda toplam\u0131\u015f, fakat ge\u00e7imleri tamamen tiyatro olan bu elemanlar\u0131n \u00fccretleri, hi\u00e7bir zaman tam olarak \u00f6denmedi\u011finden, kumpanyadaki huzursuzluklar bitmemi\u015ftir. Hatta a\u00e7l\u0131k ve bak\u0131ms\u0131zl\u0131k y\u00fcz\u00fcnden hastalanan R\u0131\u015ftuni\u2019nin doktor ya da ila\u00e7 g\u00f6ndermesini rica etmek i\u00e7in bir Pa\u015fa\u2019ya ve bir eczac\u0131 dostuna yazd\u0131\u011f\u0131 mektup en somut \u00f6rne\u011fidir. Karakteriyle ilgili bu \u00f6n bilgilerden sonra s\u0131ra geldi G\u00fcll\u00fc Agop\u2019un sanat\u00e7\u0131 ki\u015fili\u011fine.\n<\/p>\n

Hagop G\u00fcll\u00fcyan (Vartovyan) (G\u00fcll\u00fc Agop) 1840 \u2013 1902<\/strong><\/p>\n

\u0130stanbul\u2019da do\u011fdu. 1861\u2019de Bal\u0131khane\u2019de k\u00fc\u00e7\u00fck bir memur olarak \u00e7al\u0131\u015f\u0131rken, \u015eark Tiyatrosuna amat\u00f6r olarak girdi. \u0130ki y\u0131l sonra \u0130zmir\u2019de Ermenice oyunlar oynayan bir toplulu\u011fu y\u00f6netti. \u0130stanbul\u2019a d\u00f6nd\u00fc\u011f\u00fcnde Ermenice oyunlar seyretmek isteyen seyirci say\u0131s\u0131 azal\u0131nca, T\u00fcrk\u00e7e oyunlar oynayabilmek i\u00e7in harekete ge\u00e7ti.1867\u2019de Ohannes Kasparyan, Gedikpa\u015fa sirkini tiyatroya d\u00f6n\u00fc\u015ft\u00fcrd\u00fc. G\u00fcll\u00fc Agop 1869\u2019da buray\u0131 kiralayarak\u00a0\u201cTiyatro-i Osmani\u201d<\/em>adl\u0131 toplulu\u011fu kurdu. Sadrazam Ali Bey\u2019in de \u00e7al\u0131\u015fmalar\u0131yla b\u00fct\u00fcn Ermeni oyunculara diksiyon dersleri verildi. Bu tiyatro ayn\u0131 y\u0131l Fuzuli\u2019nin\u00a0\u201cLeyla ile Mecnun\u201d<\/em>\u00a0eserinden d\u00fczenlenmi\u015f 5 perdelik bir oyunla perdelerini a\u00e7t\u0131. G\u00fcll\u00fc Agop 1870\u2019de T\u00fcrk\u00e7e oyunlar oynama tekelini Sadrazam Ali Bey\u2019in emriyle eline ge\u00e7irdi. Bu s\u00fcre i\u00e7inde Moli\u00e8re\u2019in Ahmet Vefik Pa\u015fa adaptasyonu olan\u00a0\u201cAyyar Hamza\u201d<\/em>s\u0131ndan, Nam\u0131k Kemal\u2019in\u00a0\u201cVatan\u201d<\/em>\u00a0adl\u0131 oyununa kadar bir \u00e7ok oyun sahnelendi. G\u00fcll\u00fc Agop sayesinde ilk kez M\u00fcsl\u00fcman oyuncular da ekibe kat\u0131larak sahneye \u00e7\u0131km\u0131\u015flard\u0131r. Bunlar\u0131n aras\u0131nda sahneye \u00e7\u0131kan ilk M\u00fcsl\u00fcman oyunculardan Ahmet Necip ve Ahmet Fehim\u2019den ba\u015fka, H\u00fcsn\u00fc, Hamdi, Abd\u00fclrezzak, K\u00fc\u00e7\u00fck \u0130smail gibi oyuncular\u0131 sayabiliriz.<\/p>\n

Agop Efendi\u2019nin h\u00fck\u00fcmetten ald\u0131\u011f\u0131 belli bir metine dayanan, sufl\u00f6rl\u00fc oyun oynama tekeli, di\u011fer topluluklar\u0131n belli bir metine dayanmayan oyunlar sergilemesini zorunlu hale getirdi. \u0130\u015fte bu yasak, belli bir metine dayanmadan, oyuncular\u0131n bir tasla\u011fa g\u00f6re oynad\u0131klar\u0131 sahne oyunu olan, TUL\u00dbAT\u2019\u0131n do\u011fmas\u0131na neden oldu.<\/p>\n

\u0130\u015fte bu tamamen halk\u0131n i\u00e7inden gelen p\u0131r\u0131l p\u0131r\u0131l ve s\u0131ms\u0131cak esprilerle dolu tul\u00fbat tiyatrosu Cumhuriyet\u2019ten \u00f6nce Hamdi, \u015eevki, Abd\u00fclrezzak, K\u00fc\u00e7\u00fck \u0130smail, Kel Hasan, Ali R\u0131za; Cumhuriyet\u2019ten sonra da Na\u015fit \u00d6zcan, \u0130smail D\u00fcmb\u00fcll\u00fc, \u015eevki \u015eakrak gibi sanat\u00e7\u0131lar\u0131 sahnelere kazand\u0131rd\u0131.<\/p>\n

Bu k\u0131sac\u0131k bilgiden sonra d\u00f6nelim yine G\u00fcll\u00fc Agop\u2019a. 1873\u2019te sahnelenen\u00a0\u201cVatan\u201d<\/em>\u00a0oyunundan sonra halk\u0131n yapt\u0131\u011f\u0131 g\u00f6steriler nedeniyle, Abd\u00fclaziz\u2019in emriyle, Nam\u0131k Kemal, Mustafa Nuri, Ebu Ziya Tevfik ve Ahmet Mithat gibi yazarlar tutuklanarak s\u00fcrg\u00fcne g\u00f6nderildiler. B\u00f6ylece Tiyatro-i Osmani i\u00e7in zor g\u00fcnler ba\u015flad\u0131. Bir s\u00fcre m\u00fczikli oyunlarla durum idare edildi. 1876\u2019da s\u00fcrg\u00fcndeki yazarlar\u0131n \u0130stanbul\u2019a d\u00f6nmesiyle yeniden sahnelenen\u00a0\u201cVatan yahut Silistre\u201d<\/em>\u00a0b\u00fcy\u00fck yank\u0131 uyand\u0131rd\u0131.<\/p>\n

10 y\u0131ll\u0131k tekel s\u00fcresinin bitimiyle topluluk da\u011f\u0131lmaya ba\u015flad\u0131. 1881\u2019de G\u00fcll\u00fc Agop topluluktan ayr\u0131larak \u015eehzadeba\u015f\u0131\u2019nda yeni bir salon kiralad\u0131. II.Abd\u00fclhamit\u2019in emriyle M\u0131z\u0131ka-i H\u00fbmayun kadrosuna al\u0131narak M\u00fcsl\u00fcmanl\u0131\u011f\u0131 kabul etti. Ve ad\u0131 G\u00fcll\u00fc Yakup oldu.<\/p>\n

Bir iddiaya g\u00f6re G\u00fcll\u00fc Agop\u2019un saraya girdi\u011finde \u00e7oktand\u0131r M\u00fcsl\u00fcman oldu\u011funu, M\u00fcsl\u00fcmanl\u0131\u011f\u0131 ve Kur-an okumay\u0131 Osmanl\u0131 Tiyatrosu sanat\u00e7\u0131s\u0131 Ahmet Necip\u2019ten \u00f6\u011frendi\u011fi s\u00f6ylenir. Ayr\u0131ca saraya gelmeden \u00f6nce Cezayirliyan ailesinden Rosa ad\u0131nda bir kad\u0131nla ilk evlili\u011fini 18 ya\u015f\u0131nda ger\u00e7ekle\u015ftirmi\u015ftir. Bu evlilikten 4 \u00e7ocu\u011fundan sadece biri hayatta kalabilmi\u015ftir. Tiyatro hayat\u0131n\u0131n aile ya\u015fant\u0131s\u0131n\u0131n \u00f6n\u00fcne ge\u00e7mesin \u00fczerine aile da\u011f\u0131lm\u0131\u015f ve G\u00fcll\u00fc Agop, pek \u00e7ok maceradan sonra Rum bir kad\u0131nla evlenmi\u015ftir. E\u015finin kendisini terk etmesi \u00fczerine \u00fc\u00e7\u00fcnc\u00fc ve son evlili\u011fini Huriye han\u0131m ad\u0131nda M\u00fcsl\u00fcman bir kad\u0131nla yapm\u0131\u015ft\u0131r. G\u00fcll\u00fc Agop\u2019un M\u00fcsl\u00fcman oldu\u011fu s\u0131rada bu evlili\u011fin Ermeni kilisesinde yap\u0131lmas\u0131 ilgin\u00e7tir. Bu evlilikten de d\u00f6rt \u00e7ocu\u011fu oldu. \u00c7ocuklar\u0131ndan, art\u0131k hayatta olmayan m\u00fczik sanat\u00e7\u0131s\u0131 Necip A\u015fk\u0131n\u2019\u0131n o\u011flu ise Van 100.Y\u0131l \u00dcniversitesi Rekt\u00f6r\u00fc olarak g\u00fcndemde uzun s\u00fcre g\u00fcncelli\u011fini koruyan Y\u00fccel A\u015fk\u0131n\u2019d\u0131r.<\/p>\n

Kola\u011fas\u0131 Halil Bey\u2019in verdi\u011fi bilgiye g\u00f6re, 62 ya\u015f\u0131nda \u00f6len G\u00fcll\u00fc Agop, Be\u015fikta\u015f\u2019la Ortak\u00f6y aras\u0131ndaki Yahya Efendi mezarl\u0131\u011f\u0131na g\u00f6m\u00fclm\u00fc\u015ft\u00fcr. Bu bilgiyi 1924 y\u0131l\u0131ndaki bir yaz\u0131 do\u011frulamaktad\u0131r. Yaz\u0131da \u015f\u00f6yle denilmektedir:<\/p>\n

\u201c\u2026G\u00fcll\u00fc Agop nam\u0131nda bir Ermeni, Devr-i Hamidi\u2019de ihtida eylemi\u015f ve Yakup Efendi namiyle y\u00e2d ve irtihalinde b\u00ee irade Yahya Efendi Derg\u00e2h-\u0131 \u015eerifi bah\u00e7esindeki kabristana defn edilmi\u015ftir.\u201d<\/em><\/p>\n

Mardiros M\u0131nakyan (1837 \u2013 1920)<\/strong><\/p>\n

Balat\u2019ta do\u011fdu. \u00c7ok ba\u015far\u0131l\u0131 bir \u00f6\u011frenciydi. Hask\u00f6y Nersesyan Okulu\u2019ndan babas\u0131n\u0131n \u00f6l\u00fcm\u00fcyle ekonomik nedenlerle ayr\u0131lmak zorunda kald\u0131. Annesi para kazanabilmesi i\u00e7in onu bir ustan\u0131n yan\u0131na \u00e7\u0131rak olarak verdi. Okulun m\u00fcd\u00fcr\u00fc Teodoros Zorayan\u2019n\u0131n annesini ikna etmesiyle tekrar okula d\u00f6nd\u00fc. Bir s\u00fcre Hask\u00f6y, Gedikpa\u015fa ve Ey\u00fcp okullar\u0131nda yard\u0131mc\u0131 \u00f6\u011fretmenlik yapt\u0131 ve oralarda amat\u00f6r olarak tiyatroyla tan\u0131\u015ft\u0131. Profesyonel anlamda 1862\u2019de Naum Tiyatrosu\u2019nda kad\u0131n rol\u00fc oynayarak sahneye \u00e7\u0131kt\u0131. \u0130zmir\u2019de Vaspuragan toplulu\u011funda T\u00fcrk\u00e7e ve Ermenice oyunlarda rol ald\u0131. 1863\u2019te \u0130stanbul\u2019a d\u00f6nd\u00fc, \u0130masduhi Esmeryan ile evlendi. Kayseri\u2019deki Ermeni okuluna matematik \u00f6\u011fretmeni olarak gitti. Tiyatrodaki tan\u0131nm\u0131\u015fl\u0131\u011f\u0131n\u0131n \u00f6\u011fretmenli\u011fine zararl\u0131 olabilece\u011fi d\u00fc\u015f\u00fcncesiyle soyad\u0131n\u0131 Tesciyan olarak de\u011fi\u015ftirdi.<\/p>\n

1872\u2019de \u0130stanbul\u2019a d\u00f6nd\u00fc ve Ortak\u00f6y\u2019de yaln\u0131z Ermenice oyunlar sahneleyen Ma\u011fakyan Toplulu\u011fu\u2019na kat\u0131ld\u0131. Bu toplulu\u011fun da\u011f\u0131lmas\u0131yla \u00dcsk\u00fcdar\u2019daki Aziziye ve Gedikpa\u015fa\u2019daki G\u00fcll\u00fc Agop\u2019un\u00a0\u201cTiyatro-i Osmani\u201d<\/em>sine girdi. K\u00fc\u00e7\u00fck Polonya\u2019da Gerard, Lusi Didie\u2019de Paul Didie, De\u011firmencinin K\u0131z\u0131\u2019nda Roje, Angelo Malipieri\u2019de Rudolf, Cezar Borgia\u2019da Fabio Orsino, Kamelyal\u0131 Kad\u0131n\u2019da Armand Duvall, Yurtta\u015f Kane\u2019de Kane ve daha bir \u00e7ok oyundaki karakteri ba\u015far\u0131yla canland\u0131rm\u0131\u015ft\u0131r.<\/p>\n

1878\u2019de ayr\u0131larak Selanik, Edirne, Mersin ve Adana\u2019da \u00e7e\u015fitli gruplarda oyunlar oynad\u0131. G\u00fcll\u00fc Agop saraya al\u0131n\u0131nca, Tiyatro-i Osmani\u2019yi idare etmeyi \u00fcstlendi ama beceremedi. 1885\u2019te\u00a0\u201cOsmanl\u0131 Dram Kumpanyas\u0131\u201d<\/em>n\u0131n ba\u015f\u0131na ge\u00e7ti. Fakat oyuncular aras\u0131ndaki ge\u00e7imsizlik ve paras\u0131zl\u0131k nedeniyle, 1888\u2019de kumpanya da\u011f\u0131ld\u0131. 1893\u2019te Ermenice\u00a0oyunlar oynamak \u00fczere izin ald\u0131. Seyirci azl\u0131\u011f\u0131ndan 1895\u2019te bu i\u015ften vazge\u00e7ti,\u00a0“Dram Tiyatrosu”<\/em>na tekrar girdi ve turnelere kat\u0131ld\u0131.
\n1904\u2019te \u0130stanbul \u015eehremini R\u0131dvan Pa\u015fa\u2019n\u0131n tiyatroyu yasaklamas\u0131yla b\u00fct\u00fcn tiyatrocular a\u00e7\u0131kta kald\u0131. 1908\u2019de II. Me\u015frutiyet\u2019in ilan\u0131yla tekrar \u00e7al\u0131\u015fmalar ba\u015flad\u0131. 1909\u2019da\u00a0\u201cTasfiye-i Ahlak Kumpanyas\u0131\u201d<\/em>na kat\u0131ld\u0131. Bu arada\u00a0\u201cYeni Tiyatro\u201d<\/em>nun da y\u00f6netmenli\u011fini yap\u0131yordu. 1912\u2019de Serope Bengliyan\u2019la birlikte 80 ki\u015filik bir kadro olu\u015fturdu. Ayn\u0131 y\u0131l 50. sanat y\u0131l\u0131 j\u00fcbilesi yap\u0131ld\u0131. Bu j\u00fcbile T\u00fcrk Tiyatro tarihinin ilk j\u00fcbilesi oldu. Padi\u015fah Mehmet Re\u015fat kendisine\u00a0\u201cMaarif Ni\u015fan\u0131\u201d<\/em>\u00a0verdi. 1920\u2019de Tema\u015fa Dergisi\u2019nin okurlar\u0131 aras\u0131nda yapt\u0131\u011f\u0131\u00a0\u201c50 y\u0131ldan beri T\u00fcrk tiyatrosuna en \u00e7ok eme\u011fi ge\u00e7en kimdir?\u201d<\/em>\u00a0anketinde en \u00e7ok oyu M\u0131nakyan ald\u0131. 150\u2019yi a\u015fk\u0131n oyunda oynad\u0131.<\/p>\n

B\u00f6ylece geldik 20. yy. ba\u015flar\u0131na. Bu y\u0131llarda \u015fimdiki ad\u0131 \u015fehir tiyatrolar\u0131 olan Dar-\u00fcl Bedai\u2019nin Muhsin Ertu\u011frul taraf\u0131ndan kurulmas\u0131yla, Osmanl\u0131 tema\u015fa sanat\u0131 \u00e7ok b\u00fcy\u00fck bir ad\u0131m atm\u0131\u015ft\u0131r. Dar-\u00fcl Bedai 27 Ekim 1914\u2019te \u0130stanbul \u015eehremini Cemil Pa\u015fa\u2019n\u0131n giri\u015fimiyle ve 3.000 TL b\u00fct\u00e7esiyle \u015eehzadeba\u015f\u0131\u2019ndaki Letafet apartman\u0131ndaki Dar-\u00fcl Bedai-i Osmani ad\u0131yla kuruldu. A\u00e7\u0131lan s\u0131navda 55\u2019i erkek 8\u2019i kad\u0131n, 63 ki\u015fi ba\u015far\u0131 g\u00f6sterdiler. Bu 8 kad\u0131ndan hi\u00e7biri M\u00fcsl\u00fcman de\u011fildi. K\u0131nar Han\u0131m ve Eliza Binemeciyan da bu s\u0131navda b\u00fcy\u00fck ba\u015far\u0131 g\u00f6stererek kadroya kabul edilen han\u0131m sanat\u00e7\u0131lardand\u0131.<\/p>\n

K\u0131nar Han\u0131m 1876 \u2013 1950<\/strong><\/p>\n

\u0130stanbul\u2019da do\u011fdu. Annesi Bercuhi Han\u0131m, Fasulyeciyan toplulu\u011funda \u00e7al\u0131\u015f\u0131yordu. 1890\u2019da Fasulyeciyan\u2019\u0131n oyuncular\u0131ndan Takuhi Han\u0131m vefat edince yeni bir oyuncu arand\u0131 ve K\u0131nar Han\u0131m, annesinin iste\u011fiyle Tekirda\u011f\u2019da\u201cK\u00f6r\u00fcn O\u011flu\u201d<\/em>\u00a0oyunuyla sahneye \u00e7\u0131kt\u0131. 1894\u2019te Fasulyeciyan\u2019la alt\u0131 y\u0131l s\u00fcren Bulgaristan ve Romanya turnelerine kat\u0131ld\u0131. 1901\u2019de M\u0131nakyan toplulu\u011funa girdi. 1908\u2019de II. Me\u015frutiyet\u2019in ilan\u0131yla \u00e7o\u011falan tiyatro topluluklar\u0131n\u0131n aranan bir oyuncusu oldu. Bir ara Zabel Binemeciyan ile birlikte dekor \u00e7al\u0131\u015fmalar\u0131n\u0131 Muhsin Ertu\u011frul ve Behzat Butak\u2019\u0131n ger\u00e7ekle\u015ftirdikleri\u00a0\u201cYeni Osmanl\u0131 Tiyatrosu\u201d<\/em>\u00a0ad\u0131 alt\u0131nda bir topluluk kurduysa da \u00f6mr\u00fc k\u0131sa oldu. Dar-\u00fcl Bedai kurulunca s\u0131nav\u0131 kazanarak oraya ge\u00e7ti. Muhsin Ertu\u011frul, Ra\u015fit R\u0131za ve \u015e\u00e2di Fikret Karag\u00f6zo\u011flu ile \u00e7al\u0131\u015ft\u0131. Fasulyeciyan toplulu\u011funun komik oyuncular\u0131ndan S\u0131vac\u0131yan ile evlendi.
\nM\u0131nakyan melodramlar\u0131n\u0131n oyun stiline al\u0131\u015ft\u0131\u011f\u0131 i\u00e7in Dar-\u00fcl Bedai \u00fcslubuna uymakta zorluk \u00e7ektiyse de k\u0131sa s\u00fcrede bunu da yendi ve ba\u015far\u0131l\u0131 bir oyuncu olarak sanat hayat\u0131n\u0131 tamamlad\u0131.<\/p>\n

Eliza Binemeciyan 1890 \u2013 1981<\/strong><\/p>\n

Hepsi de tiyatrocu olan Rupen ve A\u011favni Zabel Binemeciyan\u2019\u0131n k\u0131z\u0131 Onnik Binemeciyan\u2019\u0131n karde\u015fidir. Notre Dame De Sion Frans\u0131z okulunda okudu. Annesi ve babas\u0131 M\u0131nakyan tiyatrosunda oldu\u011fu i\u00e7in tiyatro i\u00e7inde b\u00fcy\u00fcd\u00fc. Daha 10 ya\u015f\u0131na gelmeden M\u0131nakyan tiyatrosunda k\u00fc\u00e7\u00fck k\u0131z ve o\u011flan rollerine \u00e7\u0131kt\u0131. Profesyonel oyunculu\u011fa 1908\u2019de Ermeni gen\u00e7lerin kurdu\u011fu\u00a0\u201cSerbest Sahne\u201d<\/em>de ba\u015flad\u0131. Bir s\u00fcre sonra M\u0131nakyan tiyatrosuna girdi. Babas\u0131 1912\u2019de, annesi de 1915\u2019te \u00f6l\u00fcnce, karde\u015fi Onnik Binemeciyan Amerika\u2019ya gitti ve kendisinden bir daha haber al\u0131namad\u0131. Eliza Han\u0131m, Donanma Cemiyeti Heyet-i Temsiliye\u2019si ve Yeni Sahne\u2019de, daha sonra yeni kurulan Dar-\u00fcl Bedai\u2019nin s\u0131navlar\u0131nda ba\u015far\u0131 g\u00f6stererek Dar-\u00fcl Bedai\u2019de \u00e7ok iyi rollere \u00e7\u0131kt\u0131. 1921\u2019de ilk kez, 1924\u2019te de bir daha d\u00f6nmemek \u00fczere Paris\u2019e gitti. Ra\u015fit Pa\u015fa\u2019n\u0131n davetiyle, 1926\u2019n\u0131n Ramazan ay\u0131nda Frans\u0131z tiyatrosunda oynamak \u00fczere \u0130stanbul\u2019a geldi. Sezon bitince Paris\u2019e d\u00f6nd\u00fc. 1981\u2019de Kanada\u2019n\u0131n Toronto kentinde \u00f6ld\u00fc. Ra\u015fit R\u0131za ile \u00e7ok uyumlu bir ikili olu\u015fturmu\u015flard\u0131. Osmanl\u0131 T\u00fcrk tiyatrosunda sahneye \u00e7\u0131kan Ermeni oyuncular\u0131n en yeteneklilerinden biriydi.<\/p>\n

1920\u2019de Kad\u0131k\u00f6y\u2019de Apollon Tiyatrosu\u2019nda H\u00fcseyin Suat\u2019\u0131n\u00a0\u201cYamalar\u201d<\/em>\u00a0oyununda oynayan Eliza Binemeciyan yurtd\u0131\u015f\u0131na gidince, Emel rol\u00fcyle Afife Jale sahneye \u00e7\u0131kt\u0131. Daha sonra\u00a0\u201cTatl\u0131 S\u0131r\u201d<\/em>\u00a0ve\u00a0\u201cOdal\u0131k\u201d<\/em>\u00a0oyunlar\u0131nda polis kovu\u015fturmas\u0131 yap\u0131ld\u0131. Dahiliye Naz\u0131rl\u0131\u011f\u0131 g\u00f6nderdi\u011fi genelgeyle M\u00fcsl\u00fcman kad\u0131nlar\u0131n sahneye \u00e7\u0131k\u0131\u015f\u0131 resmen yasakland\u0131.<\/p>\n

B\u00fct\u00fcn geli\u015fmeler devam ederken, 1918\u2019de Serope Bengliyan\u2019dan sonra bu kez Ar\u015fag Bengliyan 1924\u2019e kadar s\u00fcren ve kendi ad\u0131yla an\u0131lan bir operet kumpanyas\u0131 kurdu. Bu kumpanyada yine Arif\u2019in Hilesi, Leblebici Horhor ve Ar\u015f\u0131n Mal Alan gibi oyunlar sergilendi. 1920\u2019lerde A\u015fot Madatyan\u2019\u0131n kurdu\u011fu\u00a0\u201cSt\u00fcdyo Tiyatrosu\u201d<\/em>yla temsillerine devam eden oyuncular aras\u0131nda Drtad Ni\u015fanyan, Ni\u015fan Be\u015fikta\u015fl\u0131yan ve Eliza Binemeciyan\u2019\u0131 sayabiliriz.<\/p>\n

Ayn\u0131 y\u0131llarda Kirkor Hagopyan \u015eark Tiyatrosu\u2019nu yeniden harekete ge\u00e7irdi. Buradan Kirkor \u00c7obanyan, Lusi Hagopyan, Sait K\u00f6knar ve Baltazar gibi oyuncular yeti\u015fti. Bu devrede tiyatro sahnelerinde g\u00f6zle g\u00f6r\u00fclen bir canl\u0131l\u0131k ba\u015flad\u0131. Gedikpa\u015fa\u2019daki Y.M.C.\u2019de Gen\u00e7ler Tema\u015fa Derne\u011fi adl\u0131 bir grup kuruldu. Bu grupta sayabilece\u011fimiz \u00f6nemli isimler Yetvart ve Sisi Yeresyan, Apraham H\u0131d\u0131\u015fyan, Nigo\u011fos Mena\u015fkyan ve Torkom S\u0131rabyan\u2019d\u0131r.<\/p>\n

Ekibin sahneledi\u011fi oyunlar aras\u0131nda Ahmet Nuri\u2019nin Ceza Kanunu, Re\u015fat Nuri\u2019nin \u00c7ifte Keramet gibi eserlerini ve b\u00fct\u00fcn M\u0131nakyan repertuar\u0131n\u0131 g\u00f6r\u00fcyoruz.<\/p>\n

B\u00fct\u00fcn bu \u00e7al\u0131\u015fmalar Cumhuriyetin ilan\u0131 s\u0131ras\u0131nda \u00e7\u0131kan kar\u0131\u015f\u0131kl\u0131klar nedeniyle bir s\u00fcre duruyor. Bu tarihlerde Vahram Papazyan, Hra\u00e7ya Nersesyan gibi sanat\u00e7\u0131lar Erivan\u2019a gidip,\u00a0\u201cS\u0131ntukyan Tadron\u201d<\/em>u kurdular. Tekrar temsilerine ba\u015flayan Gedikpa\u015fa\u2019daki Y.M.C\u2019de Torkom S\u0131rabyan, Sisi Yeresyan, H\u0131d\u0131\u015fyan, Dr.Alyanak, Betty Aslan, \u0130srailyan gibi oyuncular, Kurtulu\u015f ve civar\u0131na ta\u015f\u0131nmaya ba\u015flay\u0131nca, Gen\u00e7ler Tema\u015fa Heyeti \u0130nci Tiyatrosu\u2019na\u00a0(\u0130nci Sinemas\u0131)<\/em>\u00a0yerle\u015fiyor. Burada da ba\u015far\u0131l\u0131 temsiller veren ekip yine ikiye ayr\u0131l\u0131yor. Hagop Ayvaz, Torkom S\u0131rabyan, Ar\u015favir Alyanak, Apraham H\u0131d\u0131\u015fyan gibi isimler Tan Sinemas\u0131nda\u00a0\u201cGen\u00e7 Tiyatro Sevenler Derne\u011fi\u201d<\/em>ni kuruyorlar ve Gen\u00e7ler Tema\u015fa Heyetiyle 15 g\u00fcnde bir d\u00f6n\u00fc\u015f\u00fcml\u00fc olarak\u00a0\u201cKay\u0131p Aran\u0131yor\u201d, \u201cS\u00fct Karde\u015fler\u201d, \u201c\u00c7ifte Keramet\u201d<\/em>\u00a0gibi eserleri sahneliyorlar. Faruk Nafiz\u2019in Kazan adl\u0131 oyunuyla ilerde \u00f6zellikle dernek tiyatrolar\u0131nda pek \u00e7ok ba\u015far\u0131ya imza atacak olan Kevork Kabarac\u0131yan\u2019la Zaruhi De\u011firmenciyan ilk kez burada sahneye \u00e7\u0131km\u0131\u015flard\u0131r.<\/p>\n

B\u00f6ylece A\u015fot Madatyan\u2019\u0131n St\u00fcdyo\u2019su, Gen\u00e7ler Tema\u015fa Heyeti, Gen\u00e7 Tiyatro Sevenler Derne\u011fi, \u0130stanbul\u2019un \u00e7e\u015fitli semtlerinde temsiller veriyor.<\/p>\n

Yeri gelmi\u015fken, Ermeni tiyatro tarihinin ele al\u0131nan, kayd\u0131 tutulabilmi\u015f yakla\u015f\u0131k 100 y\u0131l\u0131 i\u00e7inde, ismi ge\u00e7en oyuncular\u0131n, birbirini tekrar eden oyunlarda rol ald\u0131\u011f\u0131 dikkat \u00e7eker. \u00c7\u00fcnk\u00fc d\u00f6nem \u015fartlar\u0131 itibariyle padi\u015fah\u0131n onay\u0131n\u0131 alan terc\u00fcme eser say\u0131s\u0131 30-40\u2019\u0131 ge\u00e7miyordu. Telif eserler de hen\u00fcz yaz\u0131lmam\u0131\u015ft\u0131. Daha \u00f6nce de belirtildi\u011fi gibi ilk telif eser Aldat\u0131lan E\u011finli\u2019dir.<\/p>\n

1925\u2019te Yeni\u015fehir\u2019deki Mangasar sahnesinde \u015eavar\u015f ve Bo\u011fos Karaka\u015f karde\u015fler, Aram Elmas Tiyatrosu\u2019nu kurdular. 1933\u2019e kadar temsiller veren bu tiyatroda, yine M\u0131nakyan reperutar\u0131 vard\u0131r. Bu ekibin kadrosunda da Baltazar, Samurka\u015f, Na\u015fit \u00d6zcan, Siranu\u015f, Jerfin Elmas ve Hagop Ayvaz\u2019\u0131 sayabiliriz.<\/p>\n

Hagop Ayvaz ilk kez 1929\u2019da Narl\u0131kap\u0131\u2019da oynanan Demirhane M\u00fcd\u00fcr\u00fc adl\u0131 piyesteki doktor rol\u00fcyle sahneye \u00e7\u0131km\u0131\u015ft\u0131r.<\/p>\n

Osmanl\u0131 T\u00fcrk ve Oslanl\u0131 Ermeni tiyatrosunun 2000\u2019li y\u0131llarda ya\u015fayan en b\u00fcy\u00fck duayeni sevgili Hagop Ayvaz\u2019la ilgili biraz ge\u00e7 kal\u0131nm\u0131\u015f olsa bile bir belgesel ve kitap \u00e7al\u0131\u015fmas\u0131n\u0131n ba\u015fland\u0131\u011f\u0131n\u0131 sizlere m\u00fcjdeledikten sonra\u00a0(2006)<\/em>, bir g\u00fcn evine yapt\u0131\u011f\u0131m bir ziyaretle o tatl\u0131 \u00fcslupla anlatt\u0131klar\u0131na \u015f\u00f6yle bir bakal\u0131m:<\/p>\n

\u201cY\u0131llarca u\u015fak ve polis rolleriyle halk\u0131n kar\u015f\u0131s\u0131na \u00e7\u0131kt\u0131m. Art\u0131k dostlar\u0131m bana u\u015fak veya polismi\u015fim gibi davran\u0131yorlard\u0131. Bir g\u00fcn \u015eark Tiyatrosu\u2019nda oynarken 12 perdelik \u201cKara De\u011firmen Cinayeti\u201d adl\u0131 oyunda a\u015f\u0131k rol\u00fcndeki delikanl\u0131 gelmeyince, kendimi sufl\u00f6r\u00fcn de yard\u0131m\u0131yla apar topar sahnede buldum. U\u015fak ve polis rollerinden a\u015f\u0131k ve tiran rollerine ge\u00e7mek benim i\u00e7in b\u00fcy\u00fck bir a\u015famayd\u0131. Alt\u0131 y\u0131l bu t\u00fcr rollerde oynad\u0131m. Genelde M\u0131nakyan repertuar\u0131n\u0131 tekrar ederdik. Oyuncular\u0131n da \u00e7o\u011fu M\u0131nakyan\u2019\u0131n oyuncular\u0131yd\u0131. Yava\u015f yava\u015f \u00f6l\u00fcmler ba\u015flad\u0131. Ayr\u0131lanlar oldu, topluluk da\u011f\u0131l\u0131nca ben de ortada kald\u0131m. Bir s\u00fcre amat\u00f6rlerle \u00e7al\u0131\u015ft\u0131m. Esayan Derne\u011fi\u2019nde \u201cPok\u0131r Taderahump\u201d adl\u0131 tiyatro grubunu kurdum.\u201d<\/em><\/p>\n

Sevgili Ayvaz kadim dostu Ber\u00e7 Erziyan\u2019\u0131n dekor i\u015flerini \u00fcstlendi\u011fi bu k\u00fc\u00e7\u00fck grupla \u0130.Galip Arcan\u2019\u0131n\u00a0\u201cH\u0131ntrem Mi Intmi\u00e7ek\u201d (L\u00fctfen M\u00fcdahale Etmeyiniz)<\/em>\u00a0adl\u0131 tek perdelik oyununu sahneliyor. D\u00f6rt ki\u015filik ekibini toplay\u0131p ustas\u0131 A\u015fot Madatyan\u2019\u0131n Tarlaba\u015f\u0131\u2019ndaki evine g\u00f6t\u00fcr\u00fcp ona prova izleterek, be\u011fenisi ve takdirini kazan\u0131yor.<\/p>\n

Ekip k\u0131sa zamanda \u00e7o\u011falarak 30 ki\u015fiye \u00e7\u0131k\u0131yor. Hagop Ayvaz, 15 y\u0131l kendi ekibiyle \u00e7e\u015fitli derneklerde oyunlar sahneliyor. Bunlar\u0131n \u00f6n \u00f6nemlilerinden biri\u00a0\u201cHars U Gesur\u201d (Gelin Kaynana)<\/em>\u00a0adl\u0131 oyundur. Bu oyun K\u0131nal\u0131 Ada\u2019da bile sahnelenmi\u015ftir.<\/p>\n

A\u015fa\u011f\u0131 yukar\u0131 tamamen T\u00fcrk\u00e7e olarak sahnelenen bu etkinlikler 1945-46\u2019ya kadar s\u00fcr\u00fcyor. 1946\u2019da \u0130smet \u0130n\u00f6n\u00fc aralar\u0131nda Suren \u015eaml\u0131yan, Mardiros Ko\u00e7unyan\u2019\u0131n da bulundu\u011fu bir \u00e7ok bas\u0131n mensubunu davet ederek, sorunlar\u0131yla ilgili bir toplant\u0131 d\u00fczenliyor. Bu toplant\u0131da \u015eaml\u0131yan, \u0130n\u00f6n\u00fc\u2019ye:\u00a0\u201cPa\u015fam, neden Ermenice tiyatro yapam\u0131yoruz ?\u201d<\/em>\u00a0diye soruyor. B\u00f6yle bir uygulamadan haberdar olmad\u0131\u011f\u0131n\u0131, istedikleri zaman Ermenice oyun oynamakta \u00f6zg\u00fcr olduklar\u0131n\u0131 ifade eden \u0130smet Pa\u015fa\u2019dan al\u0131nan bu s\u00f6zle cesaretlenilerek, Ermenice oyunlar tekrar oynanmaya ba\u015flan\u0131yor.<\/p>\n

A\u015fot Madatyan, Ar\u015fam \u00c7izmeciyan gibi isimler\u00a0\u201cVega\u201d<\/em>\u00a0toplulu\u011funu kuruyor. K\u00f6se Kahya, Leblebici Horhor gibi operetler Ermenice olarak sahneleniyor. Daha sonra Sona Der Markaryan ve e\u015finin \u00e7al\u0131\u015fmalar\u0131yla\u00a0\u201cArpi Tadron\u201d<\/em>kuruluyor. Bu ekip\u00a0\u201cMarvo\u011f C\u0131ragner\u201d<\/em>\u00a0(S\u00f6nen Kandiller)<\/em>,\u00a0\u201cKare Bubrig\u0131s\u201d (Ta\u015f Bebek)<\/em>\u00a0adl\u0131 oyunlar\u0131 oynam\u0131\u015ft\u0131r. Ekipler \u00e7o\u011fal\u0131nca rekabet de artar. Hatta Kevork Kabarac\u0131yan\u2019\u0131 transfer \u00fccreti olarak Hamlet rol\u00fc teklif edilir. O da St\u00fcdyo\u2019dan ayr\u0131larak Gen\u00e7ler Tema\u015fa Heyeti\u2019ne ge\u00e7er.<\/p>\n

B\u00fct\u00fcn bu ekiplerde sadece y\u00f6netmenlik g\u00f6revini \u00fcstlenebilecek kimse yoktu. Herkes oyununa g\u00f6re bu g\u00f6revi yerine getiriyordu. Ayn\u0131 tarihlerde bu ekiplerden bir araya gelen oyuncularla A\u015fot Madatyan\u2019\u0131n y\u00f6netmenli\u011finde Nazan ve Haygasar Vosgeri\u00e7yan, Ha\u00e7ik Arzumanyan, N\u0131\u015fan Han\u00e7er, Zaruhi De\u011firmenciyan, Hagop Ayvaz gibi sanat\u00e7\u0131larla, Ermenice olarak\u00a0\u201cAr\u015f\u0131n Mal Alan\u201d\u00a0<\/em>sahneleniyor. Bu operetin m\u00fczik provalar\u0131 tek bir keman e\u015fli\u011finde yap\u0131lm\u0131\u015f, ekip o g\u00fcnlerde \u0130stanbul\u2019da olan Azeri Orkestrayla ancak galada tan\u0131\u015fm\u0131\u015flard\u0131r.<\/p>\n

Son olarak.<\/strong><\/p>\n

Yukar\u0131da bahsi ge\u00e7en 1820\u2019den ba\u015flay\u0131p 1900\u2019lerin ortas\u0131na kadar s\u00fcren Profesyonel Ermeni Tiyatrolar\u0131n\u0131n, b\u00f6l\u00fcnerek \u00e7o\u011falmas\u0131, ekipler aras\u0131ndaki s\u00fcrt\u00fc\u015fmeler ve oyuncu egolar\u0131n\u0131n, oyunculuklar\u0131 ve tiyatro disiplinlerinin \u00f6n\u00fcne ge\u00e7mesi, zamanla profesyonel sahne ya\u015fam\u0131n\u0131n dernek tiyatrolar\u0131na kayarak Amat\u00f6r Ermeni Dernek Tiyatrolar\u0131n\u0131n g\u00fcn\u00fcm\u00fcze kadar ula\u015fan tarihini olu\u015fturmu\u015ftur.<\/p>\n

1946\u2019dan g\u00fcn\u00fcm\u00fcze kadar ge\u00e7en s\u00fcrede amat\u00f6r dernek tiyatrolar\u0131, dernek lokallerinde veya ba\u015fka sahnelerde y\u00fczlerce oyun sahnelemi\u015flerdir. Buralardan yeti\u015fen bir \u00e7ok amat\u00f6r oyuncu olmu\u015ftur. Bunlardan baz\u0131lar\u0131 h\u00e2l\u00e2 ayn\u0131 lokallerde \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcrmektedirler. Ama bu etkinliklerle ilgili hi\u00e7bir dernekte, \u00fcz\u00fclerek belirtmeliyim ki d\u00fczg\u00fcn bir ar\u015fiv bulunmamaktad\u0131r. Bunlar\u0131 derleyebilmek \u00e7ok uzun ve kapsaml\u0131 bir ara\u015ft\u0131rmay\u0131 gerektirmektedir. Ba\u015fka bir tiyatro a\u015f\u0131\u011f\u0131n\u0131n bu yorucu ara\u015ft\u0131rmaya zaman ay\u0131rabilmesini umarak, Ermeni tiyatrosuyla ilgili notlar\u0131ma burada son veriyorum.<\/p>\n

Bana tiyatro sevgisini veren Arto Berberyan\u2019a ve Misak Toros\u2019a te\u015fekk\u00fcrlerimle.<\/p>\n

24th February 2014<\/em><\/strong>,\u00a0<\/em><\/strong>Avni Alanyal\u0131<\/em><\/strong><\/a>\u00a0<\/em><\/strong>taraf\u0131ndan yay\u0131nland\u0131<\/em><\/strong><\/p>\n

http:\/\/gezginmimar-merze.blogspot.am\/2014\/02\/19-yy-osmanl-temasa-sanatnn.html<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Bo\u011fos \u00c7alg\u0131c\u0131o\u011flu’ndan Al\u0131nm\u0131\u015ft\u0131r. Efendim, \u00f6\u011frenebildi\u011fim kadar\u0131yla \u0130stanbul\u2019da ilk tiyatro hareketleri III. Ahmet devrinde baz\u0131 yabanc\u0131 oyuncular\u0131n Frans\u0131z konsoloslu\u011funda az say\u0131da yabanc\u0131 seyircilere verdikleri temsillerle ba\u015flar. 1820\u2019lerde D\u00fczyan ailesinin Kuru\u00e7e\u015fme\u2019deki yal\u0131s\u0131nda Ermeni gen\u00e7ler taraf\u0131ndan ilk temsiller verildi. Daha sonra Ortak\u00f6y\u2019de \u015eahinyan ailesinin evinde bu temsiler devam etti. Bebek\u2019teki Frans\u0131z okulunun \u00f6\u011frencileri, \u00f6\u011fretmenleri Kapriyel Anu\u015fyan idaresinde trajediler […]<\/p>\n","protected":false},"author":7,"featured_media":44591,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,70,20,19],"tags":[],"class_list":["post-44590","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-makaleler","category-tarih-sayfalari","category-unluler"],"yoast_head":"\n19. yy. Osmanl\u0131 Tema\u015fa Sanat\u0131n\u0131n Ba\u015flang\u0131c\u0131ndan 1946\u2019ya Ermeniler. - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/akunq.net\/tr\/?p=44590\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"19. yy. Osmanl\u0131 Tema\u015fa Sanat\u0131n\u0131n Ba\u015flang\u0131c\u0131ndan 1946\u2019ya Ermeniler. - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Bo\u011fos \u00c7alg\u0131c\u0131o\u011flu’ndan Al\u0131nm\u0131\u015ft\u0131r. Efendim, \u00f6\u011frenebildi\u011fim kadar\u0131yla \u0130stanbul\u2019da ilk tiyatro hareketleri III. Ahmet devrinde baz\u0131 yabanc\u0131 oyuncular\u0131n Frans\u0131z konsoloslu\u011funda az say\u0131da yabanc\u0131 seyircilere verdikleri temsillerle ba\u015flar. 1820\u2019lerde D\u00fczyan ailesinin Kuru\u00e7e\u015fme\u2019deki yal\u0131s\u0131nda Ermeni gen\u00e7ler taraf\u0131ndan ilk temsiller verildi. Daha sonra Ortak\u00f6y\u2019de \u015eahinyan ailesinin evinde bu temsiler devam etti. 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