{"id":71763,"date":"2022-12-28T04:12:29","date_gmt":"2022-12-28T09:12:29","guid":{"rendered":"https:\/\/akunq.net\/tr\/?p=71763"},"modified":"2022-12-28T04:12:29","modified_gmt":"2022-12-28T09:12:29","slug":"bireylerin-tarihinin-ogrettikleri","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=71763","title":{"rendered":"Bireylerin tarihinin \u00f6\u011frettikleri"},"content":{"rendered":"

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\u201cTiyatro sanat\u00e7\u0131lar\u0131n\u0131n sahnede oynad\u0131klar\u0131 m\u00fcddet\u00e7e var olduklar\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcrse e\u011fer, oyuncular\u0131n bireysel tarihine odaklanan bir tarih yaz\u0131m\u0131, tiyatro tarihi s\u00f6z konusu oldu\u011funda daha da b\u00fcy\u00fck bir \u00f6nem kazan\u0131yor.\u201d<\/strong><\/em><\/p>\n

AY\u015eE KADIO\u011eLU<\/a><\/strong><\/p>\n

De\u011ferli tarih\u00e7i Howard Zinn\u2019in literat\u00fcre yapt\u0131\u011f\u0131 en \u00f6nemli katk\u0131lardan biri de\u00a0Amerika Birle\u015fik Devletleri Halklar\u0131n\u0131n Tarihi<\/em>\u00a0(\u0130stanbul: \u0130mge, 2005) ba\u015fl\u0131kl\u0131 kitapt\u0131r. Uzun y\u0131llar hocam olan ve art\u0131k maalesef hayatta olmayan Zinn, ilk yay\u0131nland\u0131\u011f\u0131 1980 sonras\u0131nda defalarca bask\u0131s\u0131 yap\u0131lan bu kitap ile, ABD tarihini kurumlar\u0131n de\u011fil de halk\u0131n m\u00fccadeleleri a\u00e7\u0131s\u0131ndan incelemi\u015ftir. Yani Anayasan\u0131n nas\u0131l yap\u0131ld\u0131\u011f\u0131n\u0131n, Temsilciler Meclisi\u2019nin nas\u0131l kuruldu\u011funun tarihini de\u011fil de, ABD\u2019de insanlar\u0131n verdi\u011fi hak m\u00fccadelelerinin tarihini anlat\u0131r. Benzer bir \u015fekilde, tarih yaz\u0131m\u0131ndaki yayg\u0131n erkek egemenli\u011fine dikkat \u00e7eken ve kad\u0131nlar\u0131 \u00f6ne \u00e7\u0131kararak tarih yazmaya odaklanan bir\u00e7ok \u00e7al\u0131\u015fma da var. Tarihin nas\u0131l yaz\u0131ld\u0131\u011f\u0131 ba\u015fl\u0131 ba\u015f\u0131na geni\u015f bir konu elbette, ancak bu yaz\u0131 bununla ilgili de\u011fil. Ben bu yaz\u0131da tarih yaz\u0131m\u0131nda bireysel tarihlere odaklanman\u0131n ne denli \u00f6\u011fretici oldu\u011funu yak\u0131nlarda yay\u0131nlanan bir kitap \u00f6rne\u011fi ile g\u00f6stermeye \u00e7al\u0131\u015faca\u011f\u0131m. Bu kitab\u0131n yazar\u0131 Nesim Ovadya \u0130zrail; ba\u015fl\u0131\u011f\u0131 ise\u00a0D\u00fc\u015fler Sahnesinde: Rejis\u00f6r A\u015fod Madatyan ve Kozmopolitizmden Milliyet\u00e7ili\u011fe T\u00fcrkiye\u2019de Tiyatro 1902-1962<\/em>\u00a0(\u0130stanbul: Aras, 2022). Ancak Nesim Ovadya \u0130zrail 2022\u2019nin son aylar\u0131nda sadece bu kitab\u0131 yay\u0131nlamakla yetinmedi. A\u015fod Madatyan\u2019\u0131n 1943-44\u2019de kaleme ald\u0131\u011f\u0131\u00a0Sahnemizin De\u011ferleri<\/em>\u00a0ba\u015fl\u0131kl\u0131 kitab\u0131n\u0131n da ayn\u0131 anda yeniden yay\u0131nlanmas\u0131na \u00f6nayak oldu; bu kitab\u0131n Aras Yay\u0131nc\u0131l\u0131k taraf\u0131ndan yay\u0131nlanan yeni bask\u0131s\u0131na de\u011ferli bir sunu\u015f da yazd\u0131.<\/p>\n

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Benim Nesim Ovadya \u0130zrail\u2019in kitaplar\u0131 ile tan\u0131\u015fmam, \u0130stanbul tiyatrolar\u0131n\u0131n 20. y\u00fczy\u0131l ba\u015f\u0131ndaki y\u0131ld\u0131z oyuncusu Eliza Binemeciyan\u2019\u0131n ya\u015fam\u0131n\u0131 merak etmeye ba\u015flad\u0131\u011f\u0131m d\u00f6nemde ger\u00e7ekle\u015fti. Elime ald\u0131\u011f\u0131m ilk \u00e7al\u0131\u015fmas\u0131 tiyatrocu bir aile olan \u015eahinyan ailesinin hik\u00e2yesini \u2013Vahan ve Oksen \u015eahinyan\u2019\u0131 merkeze alarak\u2013 anlatt\u0131\u011f\u0131\u00a0Osmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar\u00a0<\/em>(\u0130stanbul: BGST yay\u0131nlar\u0131, 2018) ba\u015fl\u0131kl\u0131 kitab\u0131 idi. Daha sonra da\u00a024 Nisan 2015: \u0130stanbul, \u00c7ank\u0131r\u0131, Aya\u015f, Ankara<\/em>\u00a0(\u0130stanbul: \u0130leti\u015fim, 2013) ba\u015fl\u0131kl\u0131 eseri ile tan\u0131\u015ft\u0131m. Bu kitaplar\u0131 okumaya ba\u015flad\u0131\u011f\u0131mda, ben de Eliza Binemeciyan\u2019\u0131n tiyatro kariyerinin izini s\u00fcr\u00fcyor ve d\u00f6nemin \u0130stanbul\u2019unu daha iyi anlamaya \u00e7al\u0131\u015f\u0131yordum. Yapt\u0131\u011f\u0131m okumalar bana \u0130kinci Me\u015frutiyet\u2019in ilan\u0131n\u0131n hemen sonras\u0131ndaki dinamik ortamda kurulan\u00a0Azad Tadron<\/em>\u00a0(\u00d6zg\u00fcr Tiyatro) tiyatrosunun gerek genel olarak Osmanl\u0131 Ermeni tiyatrosunun geli\u015fiminde gerekse de \u00f6zel olarak Eliza Binemeciyan\u2019\u0131n kariyerinde \u00f6nemli bir basamak ta\u015f\u0131 oldu\u011funu g\u00f6steriyordu. Bu tiyatronun kurucular\u0131 olan A\u015fod Madatyan ve Yenovk \u015eahen isimlerinin Eliza Binemeciyan\u2019\u0131n birlikte \u00e7al\u0131\u015ft\u0131\u011f\u0131 \u00f6nemli tiyatrocular olduklar\u0131n\u0131 \u00f6\u011frenmi\u015ftim. Onlar\u0131n ya\u015fam hik\u00e2yelerinde d\u00f6nemin dinamiklerine \u0131\u015f\u0131k tutacak bilgilerin olaca\u011f\u0131n\u0131 seziyordum.<\/p>\n

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\nEliza Binemeciyan<\/sub><\/p>\n

20. y\u00fczy\u0131l\u0131n ba\u015f\u0131nda \u0130stanbul\u2019da bir tiyatro oyuncusunun ya\u015fam\u00f6yk\u00fcs\u00fcne duyulan merak, insan\u0131 d\u00f6neme ili\u015fkin tiyatro tarihi kitaplar\u0131n\u0131 okumaya y\u00f6neltiyor. Bu kitaplar aras\u0131nda \u00f6rne\u011fin, Refik Ahmet Sevengil\u2019in 1968 y\u0131l\u0131nda yay\u0131nlanan\u00a0Me\u015frutiyet Tiyatrosu<\/em>\u00a0ba\u015fl\u0131kl\u0131 kitab\u0131, daha \u00f6nce hi\u00e7 kar\u015f\u0131la\u015fmad\u0131\u011f\u0131m detayl\u0131 bilgilerle doluydu. Bir s\u00fcre sonra kendimi tiyatro tarihi kitaplar\u0131 ve d\u00f6nemin edebiyat yazarlar\u0131n\u0131n hat\u0131ratlar\u0131n\u0131 okurken bulmu\u015ftum. Okuduk\u00e7a tiyatro tarihi kitaplar\u0131n\u0131n ve hat\u0131ratlar\u0131n nas\u0131l da Eliza Binemeciyan gibi bir oyuncunun daha ziyade \u201cyoklu\u011funa\u201d odakland\u0131klar\u0131n\u0131 fark ettim. Bununla \u015funu kastediyorum: Bir\u00e7ok tarih\u00e7i ve hat\u0131rat yazar\u0131n\u0131n g\u00f6z\u00fcnde Eliza Binemeciyan, \u0130stanbul\u2019u terk ederek M\u00fcsl\u00fcman ve T\u00fcrk kad\u0131nlar\u0131n\u0131n sahneye \u00e7\u0131k\u0131\u015f\u0131 i\u00e7in neredeyse f\u0131rsat yaratm\u0131\u015f bir kad\u0131nd\u0131. Yazarlar, Eliza Binemeciyan\u2019\u0131n sanat\u0131n\u0131 anlatmak yerine, ondan daha ziyade \u0130stanbul\u2019dan gidi\u015fi ba\u011flam\u0131nda s\u00f6z ediyorlard\u0131. Bir\u00e7ok tahlil ve hat\u0131rat, onun \u00e7ok sevdi\u011fi \u0130stanbul\u2019dan geri d\u00f6nmemek \u00fczere gidi\u015fini adeta bir \u201ctercih\u201d, yoklu\u011funu ise T\u00fcrk tiyatrosunun geli\u015fmesinde neredeyse hay\u0131rl\u0131 bir ad\u0131m olarak tasvir ediyordu. Eliza Binemeciyan\u2019\u0131n \u0130stanbul tiyatrolar\u0131ndaki etkili \u201cvarl\u0131\u011f\u0131na\u201d ise pek de\u011finilmiyordu.<\/p>\n

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Bu \u00e7al\u0131\u015fmay\u0131 yapt\u0131\u011f\u0131mda kar\u015f\u0131ma \u00e7\u0131kan eserlerin i\u00e7inde d\u00f6nemin Ermeni tiyatrocular\u0131n\u0131n \u201cvarl\u0131\u011f\u0131na\u201d tutulmu\u015f olan en \u00f6nemli \u0131\u015f\u0131k ise Nesim Ovadya \u0130zrail\u2019in yukar\u0131da s\u00f6z\u00fcn\u00fc etti\u011fim \u015eahinyanlar \u00fczerine olan \u00e7al\u0131\u015fmas\u0131yd\u0131. Bu kitap \u015eahinyanlar\u2019\u0131n yan\u0131 s\u0131ra d\u00f6nemin di\u011fer tiyatrocular\u0131n\u0131n varl\u0131klar\u0131 ve tiyatroya katk\u0131lar\u0131na odaklanarak yaz\u0131lm\u0131\u015f bir kitapt\u0131. Bu yakla\u015f\u0131m\u0131ndan, yani tiyatrocular\u0131n \u201cvarl\u0131\u011f\u0131na\u201d yapt\u0131\u011f\u0131 vurgudan \u00e7ok etkilendi\u011fimi hat\u0131rl\u0131yorum. Benzer bir yakla\u015f\u0131ma sahip oldu\u011funu fark etti\u011fim bir di\u011fer eser ise A\u015fod Madatyan\u2019\u0131n 1943-44\u2019de kaleme ald\u0131\u011f\u0131\u00a0Sahnemizin De\u011ferleri<\/em>\u00a0isimli iki ciltlik kitab\u0131yd\u0131. Bu kitap piyasada yoktu. Ben bu iki ciltlik eserin \u00f6nemli oldu\u011funu idrak ettikten sonra ilk bask\u0131s\u0131n\u0131 bir sahafta bulup edinmi\u015ftim. A\u015fod Madatyan bu eserinde d\u00f6nemin \u00f6nemli tiyatro oyuncular\u0131n\u0131n (ki bunlar\u0131n i\u00e7inde Eliza Binemeciyan da var) hem ya\u015fam\u00f6yk\u00fclerinden kesitler anlat\u0131yor hem karakterlerini kendi g\u00f6z\u00fcnden aktar\u0131yor hem de oyunculuklar\u0131n\u0131 kimi zaman \u00f6verek kimi zaman da ele\u015ftirerek tahlil ediyordu. \u0130lk okudu\u011fumda b\u00f6ylesine \u00f6nemli bir kayna\u011f\u0131n neden bu denli gizli sakl\u0131 kald\u0131\u011f\u0131na hay\u0131fland\u0131\u011f\u0131m\u0131 hat\u0131rl\u0131yorum.<\/p>\n

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\u0130\u015fte bu nedenle A\u015fod Madatyan\u2019\u0131n\u00a0Sahnemizin De\u011ferleri<\/em>\u00a0ba\u015fl\u0131kl\u0131 iki ciltlik kitab\u0131n\u0131n Aras Yay\u0131nc\u0131l\u0131k taraf\u0131ndan yeniden bas\u0131lmas\u0131n\u0131n Nesim Ovadya \u0130zrail\u2019in giri\u015fimiyle oldu\u011funu \u00f6\u011frendi\u011fimde hi\u00e7 \u015fa\u015f\u0131rmad\u0131m. Kitap Nesim Ovadya \u0130zrail\u2019in sunu\u015fuyla 2022\u2019de yay\u0131nland\u0131\u011f\u0131nda, bu topraklardaki tiyatro tarihinin en \u00f6nemli kitaplar\u0131ndan birinin okuyucuyla nihayet bulu\u015ftu\u011funu d\u00fc\u015f\u00fcnd\u00fcm. Gerek A\u015fod Madatyan gerekse de Nesim Ovadya \u0130zrail tiyatroyu kurumlara indirgemeyen, o kurumlar\u0131 var edenlerin oyuncular olduklar\u0131n\u0131n bilincinde olan ve kurumlardan ziyade oyuncular\u0131n tarihine odaklanan yazarlar\u2026 Elbette bunu yaparken de d\u00f6nemin tarihine farkl\u0131 bir a\u00e7\u0131dan \u0131\u015f\u0131k tutuyorlar.<\/p>\n

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\nA\u015fod Madatyan<\/sub><\/em><\/p>\n

\u0130\u015fte Nesim Ovadya \u0130zrail\u2019in A\u015fod Madatyan\u2019\u0131n ya\u015fam\u0131n\u0131, kariyerini anlatt\u0131\u011f\u0131 ve yukar\u0131da tam k\u00fcnyesi yer alan\u00a0D\u00fc\u015fler Sahnesinde\u00a0<\/em>ba\u015fl\u0131kl\u0131 kitap da G\u00fcll\u00fc Agop ve Mardiros M\u0131nakyan\u2019dan sonraki d\u00f6nemde bir rejis\u00f6r ve tiyatro insan\u0131 olarak \u0130stanbul tiyatrosuna b\u00fcy\u00fck katk\u0131lar\u0131 olan A\u015fod Madatyan\u2019\u0131 odak noktas\u0131na alan bir \u00e7al\u0131\u015fma. Kitap A\u015fod Madatyan\u2019\u0131n ya\u015fam\u0131na de\u011fdi\u011fi bir\u00e7ok sanat\u00e7\u0131n\u0131n varl\u0131\u011f\u0131na da \u0131\u015f\u0131k tutuyor, onlar\u0131n bireysel tarihlerini de okuyucuya aktar\u0131yor. \u00d6rne\u011fin, yukar\u0131da de\u011findi\u011fim\u00a0Azad Tadron<\/em>\u00a0isimli tiyatronun A\u015fod Madatyan ile kurucular\u0131ndan olan Yenovk \u015eahen\u2019in ba\u015f\u0131na gelenleri ancak bu kitaptan \u00f6\u011frenmek m\u00fcmk\u00fcn. D\u00f6nemin en karizmatik oyuncular\u0131ndan birisi olan Yenovk \u015eahen, Eliza Binemeciyan ile de say\u0131s\u0131z tiyatro oyununda rol al\u0131yor. Yenovk \u015eahen, 24 Nisan 1915\u2019te Ni\u015fanta\u015f\u0131\u2019ndaki evinden al\u0131n\u0131p tutuklan\u0131yor, Aya\u015f Hapishanesi\u2019ne g\u00f6nderilen Ermeniler aras\u0131nda yer al\u0131yor ve sonra da \u00f6ld\u00fcr\u00fcl\u00fcyor. Oysa literat\u00fcrde, bu bilgiye sahip olmas\u0131na ra\u011fmen, yine de onun yak\u0131n \u00e7al\u0131\u015fma arkada\u015f\u0131 Eliza Binemeciyan\u2019\u0131n \u0130stanbul\u2019u terk edi\u015fini bir \u201ctercih\u201d, M\u00fcsl\u00fcman ve T\u00fcrk kad\u0131nlar\u0131n sahneye \u00e7\u0131k\u0131\u015f\u0131n\u0131n \u00f6n\u00fcn\u00fc a\u00e7an bir geli\u015fme olarak yans\u0131tan bir\u00e7ok sorunlu kitap ve hat\u0131rat var. \u0130\u015fte tam da bu durum, asl\u0131nda tarihin neye odaklanarak yaz\u0131ld\u0131\u011f\u0131n\u0131n ne denli \u00f6nemli oldu\u011funa i\u015faret ediyor. Nesim Ovadya \u0130zrail, oyunculara odaklanan bir yakla\u015f\u0131mla, tiyatro tarihinin farkl\u0131 bir \u015fekilde de yaz\u0131labilece\u011fini g\u00f6steriyor. Kozmopolitlikten milliyet\u00e7ili\u011fe do\u011fru yol al\u0131nan bir d\u00f6nemde, Ermeni tiyatrocular\u0131n bu topraklardaki d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc varl\u0131klar\u0131na odaklanarak, \u0130stanbul\u2019un nas\u0131l da \u00e7e\u015fitlilik i\u00e7eren bir tarihi oldu\u011funu okuyucuya hat\u0131rlat\u0131yor. \u0130stanbul\u2019un bir zamanlar ayn\u0131 sahnede \u00e7ift dilli (Ermenice ve T\u00fcrk\u00e7e) tiyatro oyunu sergilenen bir \u00e7e\u015fitlili\u011fi oldu\u011funu g\u00f6steriyor. Bug\u00fcn i\u00e7ine itildi\u011fimiz tekil kimliklerin yaratt\u0131\u011f\u0131 tekd\u00fczelikte, bir zamanlar var olan \u00e7e\u015fitlili\u011fi hat\u0131rlaman\u0131n ne kadar \u00f6nemli oldu\u011funu d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor.<\/p>\n

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\nNesim Ovadya \u0130zrail<\/sub><\/em><\/p>\n

Tiyatro sanat\u00e7\u0131lar\u0131n\u0131n sahnede oynad\u0131klar\u0131 m\u00fcddet\u00e7e var olduklar\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcrse e\u011fer, oyuncular\u0131n bireysel tarihine odaklanan bir tarih yaz\u0131m\u0131, tiyatro tarihi s\u00f6z konusu oldu\u011funda daha da b\u00fcy\u00fck bir \u00f6nem kazan\u0131yor. Eliza Binemeciyan\u2019\u0131n\u00a0Gavro\u015f<\/em>\u00a0dergisinde yay\u0131nlanan ve Nesim Ovadya \u0130zrail\u2019in\u00a0D\u00fc\u015fler Sahnesinde\u00a0<\/em>kitab\u0131nda aktard\u0131\u011f\u0131 s\u00f6zlerini hat\u0131rl\u0131yorum:<\/p>\n

\u201cB\u00fct\u00fcn hayatlar\u0131 boyunca bunu g\u00f6rmelerine ra\u011fmen, gen\u00e7li\u011fini, yetene\u011fini sahneye adayan ger\u00e7ek sanat\u00e7\u0131lar, sahneden \u00e7\u0131kt\u0131klar\u0131nda, ya da \u00f6zellikle \u00f6ld\u00fckten hemen sonra halk taraf\u0131ndan unutulurlar. Hatta oyunculuk alan\u0131ndaki sanat\u00e7\u0131lar en talihsiz olanlard\u0131r. Ressam resimlerini, m\u00fczisyen rapsodilerini yahut sonatlar\u0131n\u0131 ve \u015fair \u015fiirlerini gelece\u011fe b\u0131rak\u0131rken, akt\u00f6r ise hi\u00e7bir \u015feyini, gelecekte hat\u0131rlayabilece\u011fi bir hik\u00e2yeyi dahi b\u0131rakamaz. Eh iyi! B\u00fct\u00fcn bunlara ra\u011fmen ve belki, kim bilir, sadece bu \u015feyler i\u00e7in, tiyatroyu \u00e7ok, ama \u00e7ok seviyorum.\u201d (s. 118-119)<\/p>\n

Evet\u2026 Belki de \u00f6zellikle de tiyatro tarihi, oynamad\u0131klar\u0131 m\u00fcddet\u00e7e unutulan oyuncular\u0131n tarihini oda\u011fa alarak yaz\u0131lmal\u0131 diye d\u00fc\u015f\u00fcn\u00fcyor insan. B\u00f6ylece onlar\u0131n yokluklar\u0131na odaklanmak yerine varl\u0131klar\u0131n\u0131 teslim etmek m\u00fcmk\u00fcn olabilir. Nesim Ovadya \u0130zrail y\u0131llard\u0131r bu do\u011frultuda \u00e7al\u0131\u015f\u0131yor ve tiyatro tarihindeki b\u00fcy\u00fck bir eksi\u011fi gidermeye \u00e7ok \u00f6nemli katk\u0131lar yap\u0131yor. Bunu yaparken de bizi \u0130stanbul\u2019un art\u0131k unutulmaya y\u00fcz tutan \u00e7e\u015fitlili\u011fiyle yeniden bulu\u015fturuyor. Bizlere bu kenti h\u00e2l\u00e2 neden sevdi\u011fimizi hat\u0131rlat\u0131yor.<\/p>\n

\u2022<\/p>\n

G\u0130R\u0130\u015e RESM\u0130:<\/sub><\/em><\/p>\n

\u015eahinyanlar ve\u00a0A\u015fod Madatyan<\/sub><\/em><\/p>\n

https:\/\/t24.com.tr\/k24\/yazi\/bireylerin-tarihinin-ogrettikleri,4041<\/a>\u00a0<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cTiyatro sanat\u00e7\u0131lar\u0131n\u0131n sahnede oynad\u0131klar\u0131 m\u00fcddet\u00e7e var olduklar\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcrse e\u011fer, oyuncular\u0131n bireysel tarihine odaklanan bir tarih yaz\u0131m\u0131, tiyatro tarihi s\u00f6z konusu oldu\u011funda daha da b\u00fcy\u00fck bir \u00f6nem kazan\u0131yor.\u201d AY\u015eE KADIO\u011eLU De\u011ferli tarih\u00e7i Howard Zinn\u2019in literat\u00fcre yapt\u0131\u011f\u0131 en \u00f6nemli katk\u0131lardan biri de\u00a0Amerika Birle\u015fik Devletleri Halklar\u0131n\u0131n Tarihi\u00a0(\u0130stanbul: \u0130mge, 2005) ba\u015fl\u0131kl\u0131 kitapt\u0131r. Uzun y\u0131llar hocam olan ve art\u0131k maalesef […]<\/p>\n","protected":false},"author":7,"featured_media":71765,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,54,70],"tags":[],"class_list":["post-71763","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-kitaplar-elestiriler","category-makaleler"],"yoast_head":"\nBireylerin tarihinin \u00f6\u011frettikleri - 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=71763\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Bireylerin tarihinin \u00f6\u011frettikleri - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"\u201cTiyatro sanat\u00e7\u0131lar\u0131n\u0131n sahnede oynad\u0131klar\u0131 m\u00fcddet\u00e7e var olduklar\u0131 d\u00fc\u015f\u00fcn\u00fcl\u00fcrse e\u011fer, oyuncular\u0131n bireysel tarihine odaklanan bir tarih yaz\u0131m\u0131, tiyatro tarihi s\u00f6z konusu oldu\u011funda daha da b\u00fcy\u00fck bir \u00f6nem kazan\u0131yor.\u201d AY\u015eE KADIO\u011eLU De\u011ferli tarih\u00e7i Howard Zinn\u2019in literat\u00fcre yapt\u0131\u011f\u0131 en \u00f6nemli katk\u0131lardan biri de\u00a0Amerika Birle\u015fik Devletleri Halklar\u0131n\u0131n Tarihi\u00a0(\u0130stanbul: \u0130mge, 2005) ba\u015fl\u0131kl\u0131 kitapt\u0131r. 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