DUVAR \u2013<\/strong>\u00a0BGST-Tiyatro kapsam\u0131nda sahnelenen \u201cKim Var Orada? Muhsin Bey\u2019in Son Hamlet\u2019i\u201d ilk g\u00fcn\u00fcnden itibaren bir s\u00fcr\u00fc \u00f6d\u00fcle lay\u0131k g\u00f6r\u00fclerek \u015fimdiye kadar gelen g\u00fc\u00e7l\u00fc, ele\u015ftirel, h\u00fcz\u00fcnl\u00fc bir oyun.<\/p>\nAn\u0131lar\u0131n\u0131 yazmak i\u00e7in masas\u0131na oturan Muhsin Ertu\u011frul, y\u0131llar \u00f6ncesinden iki hayali misafiriyle kar\u015f\u0131la\u015f\u0131r. Biri Ermeni tiyatrosunun \u00f6nemli isimlerinden Vahram Papazyan, di\u011feri de sahne yasa\u011f\u0131n\u0131 delmek i\u00e7in kendisini gayrim\u00fcslim olarak tan\u0131tan ve y\u0131llar y\u0131la herkesi kendine hayran b\u0131rakan Latife Han\u0131m. Ve yeni bir oyun: Hamlet!<\/p>\n
\u201cKim Var Orada? Muhsin Bey\u2019in Son Hamlet\u2019i\u201d alk\u0131\u015flarla sahnelenmeye devam ederken biz de oyunun yazar\u0131, y\u00f6netmeni ve oyuncusu C\u00fcneyt Yalaz\u2019la konu\u015ftuk. Kendisine oyunun yaz\u0131m s\u00fcrecini, ulusal tiyatro tart\u0131\u015fmalar\u0131n\u0131 ve yeni \u00e7al\u0131\u015fmalar\u0131n\u0131 sorduk.<\/p>\n
\u201cKim Var Orada? Muhsin Bey\u2019in Son Hamlet\u2019i\u201d nas\u0131l ortaya \u00e7\u0131kt\u0131? Oyunun yaz\u0131m ve y\u00f6netim s\u00fcrecine dair bize neler anlatmak istersiniz?<\/strong><\/p>\nAsl\u0131nda bu oyunun ortaya \u00e7\u0131k\u0131\u015f\u0131 \u00e7ok say\u0131da insan\u0131n ve \u00e7al\u0131\u015fman\u0131n katk\u0131s\u0131 ile ger\u00e7ekle\u015fti. \u00d6ncelikle BGST i\u00e7inde K\u00fclt\u00fcrel \u00c7o\u011fulcu Tiyatro \u00fczerine uzun s\u00fcredir y\u00fcr\u00fct\u00fclen \u00e7al\u0131\u015fmalarda ortaya \u00e7\u0131kan birikimin \u00f6nemli bir katk\u0131s\u0131 var. Bu alanda yap\u0131lan \u00e7al\u0131\u015fmalar bize T\u00fcrkiye\u2019de tiyatronun \u00e7okk\u00fclt\u00fcrl\u00fc yap\u0131s\u0131 \u00fczerine ciddi bir birikim katt\u0131. Yine bu \u00e7al\u0131\u015fmalar kapsam\u0131nda 2015 y\u0131l\u0131nda Bo\u011fos \u00c7alg\u0131c\u0131o\u011flu ve F\u0131rat G\u00fcll\u00fc\u2019n\u00fcn \u00f6nerisiyle bir sunum-seminer \u00e7al\u0131\u015fmas\u0131 yap\u0131ld\u0131. Bu \u00e7al\u0131\u015fma, Vahram Papazyan ve Muhsin Ertu\u011frul aras\u0131ndaki ili\u015fkiye dair k\u0131sa ama etkileyici bir \u00e7\u0131k\u0131\u015f noktas\u0131 \u00f6neriyordu. Biz de tam o s\u0131rada 1915\u2019teki B\u00fcy\u00fck Felaket\u2019in y\u00fcz\u00fcnc\u00fc y\u0131l\u0131na d\u00f6n\u00fck olarak bir oyun tasarlama niyetindeydik. Bahsetti\u011fim \u00e7al\u0131\u015fma bizim i\u00e7in bir \u00e7\u0131k\u0131\u015f noktas\u0131 olu\u015fturdu. Bu korkun\u00e7 d\u00f6nemi tiyatro d\u00fcnyas\u0131 i\u00e7inden ve tiyatro d\u00fcnyas\u0131na yans\u0131malar\u0131 ba\u011flam\u0131nda ele almak bize \u00e7ok do\u011fru g\u00f6r\u00fcnd\u00fc.<\/p>\n
Daha sonra oyunumuzun proje dan\u0131\u015fmanl\u0131\u011f\u0131n\u0131 \u00fcstlenen, ge\u00e7en y\u0131l yitirdi\u011fimiz \u00d6mer Faruk Kurhan\u2019\u0131n da katk\u0131lar\u0131yla oyun T\u00fcrkiyeli ayd\u0131nlar\u0131n hem o d\u00f6nemdeki tavr\u0131n\u0131 ele alan, yani bir anlamda ayd\u0131n sorumlulu\u011funu tart\u0131\u015fan hem de T\u00fcrkiye\u2019de ayd\u0131nlar\u0131n \u00f6zellikle kurulu\u015f s\u00fcrecinde devlet ile olan ili\u015fkisini sorgulayan bir eksene oturdu. Yine \u00d6mer\u2019in \u00f6nerisiyle oyuna bir kad\u0131n ekseni de eklendi. B\u00f6ylece T\u00fcrkiyeli ayd\u0131n\u0131n sadece Ermeni meselesi \u00fczerine tavr\u0131n\u0131 de\u011fil, ayn\u0131 zamanda kad\u0131n sorunu kar\u015f\u0131s\u0131ndaki tavr\u0131n\u0131 da tart\u0131\u015fmaya a\u00e7ma olana\u011f\u0131n\u0131 yakalam\u0131\u015f oluyorduk.<\/p>\n
Oyunun yaz\u0131m s\u00fcrecinde esas olarak d\u00f6rt ki\u015fi s\u00fcrekli ve aktif olarak \u00e7al\u0131\u015ft\u0131: Ben, \u0130lker Yasin Keskin, Banu A\u00e7\u0131kdeniz ve \u00d6zg\u00fcr Eren. Elbette hik\u00e2yenin i\u00e7eri\u011fi de g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda \u0130lker ve ben biraz daha fazla kalem oynatmak durumunda kald\u0131k ve metnin son halini verme yani metin d\u00fczenlemesi konusunda da daha fazla sorumluluk ald\u0131k. Bu kadro yap\u0131lan ara\u015ft\u0131rma \u00e7al\u0131\u015fmalar\u0131ndan yola \u00e7\u0131karak bazen daha belgeselci bir tav\u0131rla bazen de tamamen kurgusal sahneler kurarak ilerledi. \u00c7al\u0131\u015fmalar masa ba\u015f\u0131 ve sahne \u00e7al\u0131\u015fmalar\u0131n\u0131n verimli bir al\u0131\u015fveri\u015fi halinde ilerledi. Ama proje ekibinin ve dan\u0131\u015fman\u0131m\u0131z\u0131n yan\u0131 s\u0131ra, oyun metnine bazen ele\u015ftiri ve \u00f6nerilerle bazen de do\u011frudan kalem oynatarak katk\u0131da bulunan \u00e7ok say\u0131da insan oldu. Mesela Latife Han\u0131m\u2019\u0131n ki\u015fisel hik\u00e2yesini anlatt\u0131\u011f\u0131 sahne Sevilay Saral taraf\u0131ndan kaleme al\u0131nd\u0131. Oyunun sonuna do\u011fru olan tren sahnesinin kurulmas\u0131nda \u00d6mer Faruk Kurhan\u2019\u0131n do\u011frudan metinsel katk\u0131lar\u0131 oldu. Yani k\u0131saca oyunun kolektif bir \u00e7aba ve uzun s\u00fcredir y\u00fcr\u00fct\u00fclen ara\u015ft\u0131rma ve tart\u0131\u015fma faaliyetinin sonucunda ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131 s\u00f6ylemek yanl\u0131\u015f olmaz.<\/p>\n.<\/figcaption><\/figure>\n\u2018SANATTA M\u0130LL\u0130LE\u015eME HAREKET\u0130, GAYR\u0130M\u00dcSL\u0130MLER\u0130N SANATSAL ALANDAN TASF\u0130YES\u0130NE YOL A\u00c7TI\u2019<\/h2>\n Tiyatro tarihimiz, Cumhuriyet \u00f6ncesi ve sonras\u0131 olarak \u00f6nemli ayr\u0131mlar bar\u0131nd\u0131r\u0131yor. Ulusal tiyatro s\u00fcrecinde Ermeni, Rum ve Yahudi tiyatrocular\u0131n durumuna dair neler s\u00f6ylemek istersiniz?<\/strong><\/p>\nArt\u0131k hemen herkesin \u00fczerinde uzla\u015ft\u0131\u011f\u0131 bir ger\u00e7ek var: T\u00fcrkiye\u2019de Bat\u0131l\u0131 anlamda modern tiyatronun kurucu unsuru Ermeni sanat\u00e7\u0131lar olmu\u015ftur. Bunun nedenleri \u00fczerine bir s\u00fcr\u00fc \u00e7al\u0131\u015fma var ve daha da yap\u0131labilir. Do\u011fu toplumlar\u0131nda dramatik sanatlardan ziyade anlat\u0131 \u00fcslubunun egemen oldu\u011funu savunan g\u00f6r\u00fc\u015flerden tutun da, M\u00fcsl\u00fcmanl\u0131\u011f\u0131n bir Reform hareketi deneyimi, dolay\u0131s\u0131yla R\u00f6nesans ya\u015famam\u0131\u015f olmas\u0131n\u0131, sanatsal aktivitenin gayrim\u00fcslimlerin egemenli\u011finde olu\u015funa yol a\u00e7t\u0131\u011f\u0131n\u0131 s\u00f6yleyen yakla\u015f\u0131mlara kadar \u00e7ok say\u0131da yorum yap\u0131labilir. Bunlar\u0131n hepsi de \u015fu ya da bu d\u00fczeyde ge\u00e7erlili\u011fi olan tezler. Rum ve Yahudi tiyatrocular\u0131n bireysel olarak tiyatro d\u00fcnyas\u0131 i\u00e7inde var oldu\u011funu s\u00f6ylemek laz\u0131m. Ama bu alanda Ermeni sanat\u00e7\u0131lar\u0131n kesin bir h\u00e2kimiyeti oldu\u011funu teslim etmek gerekir. \u00d6rne\u011fin Rumlar\u0131n da sinemada, \u00f6zellikle de sinema tekni\u011finde aktif olduklar\u0131n\u0131 s\u00f6yleyebiliriz. Ama Rumca ya da Yunanca tiyatro diye bakt\u0131\u011f\u0131m\u0131zda, bu etkinli\u011fin daha ziyade bir cemaat tiyatrosu \u00e7er\u00e7evesinde kald\u0131\u011f\u0131 s\u00f6ylenebilir. Bunun Yunanistan\u2019\u0131n -dolay\u0131s\u0131yla Osmanl\u0131\u2019daki Yunan toplumunun- milli ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131n\u0131 g\u00f6rece erken bir d\u00f6nemde kazanmas\u0131 ve pe\u015fi s\u0131ra gelen m\u00fcbadele pratiklerinin Anadolu\u2019daki Yunan pop\u00fclasyonunu azaltmas\u0131 ile de do\u011frudan ili\u015fkisi vard\u0131r san\u0131r\u0131m. Ermeni tiyatrocular\u0131n hem Ermenice hem de T\u00fcrk\u00e7e tiyatro yap\u0131yor olmalar\u0131n\u0131n da tiyatro alan\u0131nda egemenlik ve yayg\u0131nl\u0131k\/pop\u00fclerlik kurmalar\u0131nda etkili oldu\u011funu not d\u00fc\u015fmek gerekir.<\/p>\n
Cumhuriyetin \u00f6ncesinde ba\u015flayan T\u00fcrk milliyet\u00e7ili\u011fi ak\u0131m\u0131n\u0131n sanatsal d\u00fcnyada da yans\u0131malar\u0131 oldu\u011fu a\u00e7\u0131kt\u0131r. \u00c7okk\u00fclt\u00fcrl\u00fc bir toplumdan monolitik bir yap\u0131ya do\u011fru y\u00f6neli\u015fin bu topraklardaki sanatsal birikime darbe vuran bir kopu\u015fa da yol a\u00e7t\u0131\u011f\u0131n\u0131 s\u00f6ylemek laz\u0131m. Sadece n\u00fcfus hareketleri ve katliamlar nedeniyle de\u011fil, ayn\u0131 zamanda gayrim\u00fcslimlerin sanatsal alandan tasfiyesine yol a\u00e7an bir sanatta millile\u015fme hareketinin ya\u015fand\u0131\u011f\u0131n\u0131 s\u00f6ylemek abart\u0131l\u0131 olmaz. Buna bir k\u00fclt\u00fcr-k\u0131r\u0131m\u0131 denebilir belki.<\/p>\n
Elbette T\u00fcrk sanat\u00e7\u0131lar\u0131n tiyatro sahnesinde ya da genel olarak sanat alan\u0131nda geli\u015fmeleri, aktifle\u015fmeleri de\u011ferli bir \u00e7abad\u0131r ve olmas\u0131 gereken geli\u015fmedir. Bug\u00fcnden bakt\u0131\u011f\u0131m\u0131zda bu s\u00fcrecin daha \u00e7okk\u00fclt\u00fcrl\u00fc ve kapsay\u0131c\u0131 bir s\u00fcre\u00e7 olarak ya\u015fanmas\u0131n\u0131 arzulayabiliriz. Ama o g\u00fcn\u00fcn ko\u015fullar\u0131nda b\u00f6yle bir yakla\u015f\u0131m egemen olamam\u0131\u015f ne yaz\u0131k ki. Bunun \u00fczerine de bir hayli y\u00fckl\u00fc miktarda ara\u015ft\u0131rma ve tart\u0131\u015fma i\u00e7eren bir literat\u00fcr var zaten.<\/p>\n
Bir de kad\u0131n oyuncular\u0131n durumu var tabii. M\u00fcsl\u00fcman kad\u0131nlar\u0131n sahneye \u00e7\u0131k\u0131\u015flar\u0131n\u0131n yasakland\u0131\u011f\u0131 bir ortamda, siz de kendini gayrim\u00fcslim olarak g\u00f6steren bir kad\u0131n tiyatrocuyu i\u015fliyorsunuz. Bu durumun tiyatromuz i\u00e7in yaratt\u0131\u011f\u0131 tahribat\u0131 nas\u0131l \u00f6zetleyebiliriz?<\/strong><\/p>\nYukar\u0131da bahsetti\u011fim Ermeni sanat\u00e7\u0131lar\u0131n tasfiyesi s\u00fcreci ya da tiyatro sahnesinin millile\u015ftirilmesi s\u00fcreci ya\u015fan\u0131rken, bir yandan da M\u00fcsl\u00fcman kad\u0131n sanat\u00e7\u0131lar\u0131n sahnede var olma m\u00fccadelesi ya\u015fan\u0131yor. Bu s\u00fcre\u00e7 de \u00fczerinde durulmas\u0131 gereken ve \u00e7eli\u015fkiler\/\u00e7at\u0131\u015fmalar bar\u0131nd\u0131ran bir s\u00fcre\u00e7. Biz asl\u0131nda ba\u015flang\u0131\u00e7ta Afife Jale\u2019nin hik\u00e2yesi ile ba\u015flad\u0131k ama daha sonra yapt\u0131\u011f\u0131m\u0131z ara\u015ft\u0131rmalarda gayrim\u00fcslim k\u0131l\u0131\u011f\u0131nda sahneye \u00e7\u0131kan M\u00fcsl\u00fcman kad\u0131n bir sanat\u00e7\u0131 olarak Bayan K. ad\u0131yla an\u0131lan bir sanat\u00e7\u0131 oldu\u011funu fark ettik. Daha sonra Bayan K.\u2019n\u0131n tekil bir \u00f6rnek olmad\u0131\u011f\u0131n\u0131, b\u00f6yle ba\u015fka kad\u0131n sanat\u00e7\u0131lar da oldu\u011funu ke\u015ffettik. Bu bize \u00e7ok enteresan, \u00e7eli\u015fkili ve dramatik sanat\u0131n malzemesi olarak m\u00fcmbit bir hik\u00e2ye gibi geldi ve Afife Jale\u2019den kurgusal bir karakter olarak Latife Han\u0131m\u2019a ge\u00e7i\u015f yapt\u0131k. Bir yandan sahnede T\u00fcrk akt\u00f6rlerin mevcudiyeti desteklenirken, bir yandan da hen\u00fcz dini ko\u015fulland\u0131rmalardan tam kopamam\u0131\u015f milliyet\u00e7i bak\u0131\u015f\u0131n ya\u015fad\u0131\u011f\u0131 \u00e7eli\u015fkili bir durum bu asl\u0131nda. T\u00fcrk milliyet\u00e7ileri bir s\u00fcre b\u00f6yle bir \u00e7eli\u015fki ya\u015f\u0131yor. \u201cSahnelerde T\u00fcrk oyuncular\u0131n artmas\u0131 laz\u0131m ama kad\u0131nlar\u0131n \u00e7\u0131kmas\u0131 i\u00e7in hen\u00fcz erken\u201d gibi bir bak\u0131\u015f. Ama bu durumu kabullenmeyip bireysel olarak kendince \u00e7\u00f6z\u00fcm bulan Bayan K. gibi ayk\u0131r\u0131 \u00f6rnekler \u00e7\u0131k\u0131yor ortaya.<\/p>\n
Afife Jale\u2019nin trajik hik\u00e2yesi de bize erkek egemen ortam hakk\u0131nda bir fikir veriyor. Kimli\u011fini gizlemeden sahneye ilk \u00e7\u0131kan M\u00fcsl\u00fcman kad\u0131n olan Afife, milliyet\u00e7i erkek ayd\u0131nlar taraf\u0131ndan, \u201cSen bizim fedaimizsin\u201d diye pohpohlansa da, hi\u00e7bir zaman ger\u00e7ekten ve aleni olarak desteklenmiyor ve yaln\u0131zl\u0131k i\u00e7inde, trajik bir bi\u00e7imde hayata veda ediyor. \u00c7\u00fcnk\u00fc Afife Jale ya\u015fay\u0131\u015f\u0131 ve tav\u0131rlar\u0131yla o milliyet\u00e7i ayd\u0131nlar\u0131n eril bak\u0131\u015f\u0131 taraf\u0131ndan \u201cmakbul\u201d g\u00f6r\u00fclecek bir aday de\u011fil. Meseleye biraz da b\u00f6yle bir a\u00e7\u0131dan bakmak istedik.<\/p>\n
\u2018OYUNDA G\u00dcN\u00dcM\u00dcZ T\u00dcRK\u0130YES\u0130\u2019N\u0130N AYDINLARINI DA TARTI\u015eIYORUZ\u2019<\/h3>\n Oyunda biz asl\u0131nda Muhsin Ertu\u011frul\u2019un hayat\u0131n\u0131\/hat\u0131ralar\u0131n\u0131 izlerken, bir yandan da tiyatro tarihimize, o d\u00f6nemde ya\u015fananlara \u015fahit oluyoruz. Her t\u00fcrl\u00fc aksakl\u0131\u011fa, zorlu\u011fa ra\u011fmen tiyatromuzun b\u00fcy\u00fck badirelerden ge\u00e7erek bug\u00fcnlere geldi\u011fini s\u00f6ylemek m\u00fcmk\u00fcn san\u0131yorum. Sizce Muhsin Ertu\u011frul neyi farkl\u0131 yapt\u0131?<\/strong><\/p>\nMuhsin Ertu\u011frul i\u00e7in k\u0131saca bir tan\u0131mlama yapmak gerekirse, onun \u201ckurucu ayd\u0131n\u201d tipolojisine uygun oldu\u011funu vurgulamak isterim. Her zaman tiyatronun kurumsalla\u015fmas\u0131 i\u00e7in \u00e7aba sarf etmi\u015f ve hen\u00fcz emekleme d\u00f6neminde olan T\u00fcrk\u00e7e yap\u0131lan Bat\u0131l\u0131 tiyatro d\u00fcnyas\u0131nda bir\u00e7ok ilke imza atm\u0131\u015f ve bu ilkleri kal\u0131c\u0131 hale getirmeye \u00e7al\u0131\u015fm\u0131\u015f bir ayd\u0131n tipolojisine. Bir\u00e7ok a\u00e7\u0131dan ele\u015ftirebiliriz (ki oyunda da dozunda bir bi\u00e7imde ele\u015ftirilerimizi dillendiriyoruz) ama son tahlilde T\u00fcrkiye\u2019de tiyatroya yapt\u0131\u011f\u0131 katk\u0131lar\u0131n de\u011feri ink\u00e2r edilemez. Son derece disiplinli, \u00e7al\u0131\u015fkan ve tam anlam\u0131yla kendini mesle\u011fine adam\u0131\u015f bir tiyatro insan\u0131 Muhsin Ertu\u011frul. Muhsin Ertu\u011frul\u2019un ele\u015ftirisini yaparken bu y\u00f6nlerini g\u00f6z ard\u0131 etmemeye \u00f6zen g\u00f6sterdik. Ayd\u0131n-iktidar ili\u015fkisi ba\u011flam\u0131nda de\u011ferlendirirken \u015funa dikkat etmek gerekiyor: Muhsin Ertu\u011frul baz\u0131 konularda sessiz kalm\u0131\u015f, bazen otoriter ve tek adam y\u00f6n\u00fc \u00f6ne \u00e7\u0131km\u0131\u015f, bug\u00fcnden bak\u0131l\u0131nca ele\u015ftirilebilecek tutumlar\u0131 olmu\u015f birisi olabilir. Ama bunlar onun ki\u015fili\u011finden kaynaklanm\u0131yor, daha ziyade i\u00e7inde bulundu\u011fu ko\u015fullar\u0131n ve zaman\u0131n ruhunun bir sonucu. Yani ele\u015ftiri okunu ki\u015fiden ziyade egemen olan anlay\u0131\u015fa, sisteme, monolitik zihniyete sahip devlete y\u00f6neltmek gerekiyor. Galile\u2019yi Engizisyon kar\u015f\u0131s\u0131nda geri ad\u0131m att\u0131\u011f\u0131 i\u00e7in ele\u015ftirebilirsiniz ama bu tavr\u0131 onun insanl\u0131k tarihi i\u00e7in \u00f6nemini yok eder mi? Brecht\u2019in Galile\u2019yi ele al\u0131\u015f tarz\u0131n\u0131n bizim i\u00e7in de bir model olu\u015fturdu\u011funu s\u00f6yleyebilirim.<\/p>\n
Bir de \u015fu noktaya de\u011finmek isterim, oyun yakla\u015f\u0131k 100 y\u0131l \u00f6nceki bir hik\u00e2yeyi anlat\u0131yor g\u00f6r\u00fcnse de elbette bug\u00fcnk\u00fc meseleleri tart\u0131\u015facak bir bi\u00e7imde kurguland\u0131. Yani hem tarihi meselelerin bug\u00fcne etkilerini tart\u0131\u015fmak anlam\u0131nda, hem de h\u00e2l\u00e2 a\u015f\u0131lamam\u0131\u015f, y\u00fczle\u015filememi\u015f meselelerin yeniden tart\u0131\u015fmaya a\u00e7\u0131lmas\u0131 anlam\u0131nda olduk\u00e7a g\u00fcncel bir oyun oldu\u011funu s\u00f6ylemek laz\u0131m. Yani oyunda ge\u00e7en y\u00fczy\u0131l ya\u015fam\u0131\u015f bir ayd\u0131n olarak Muhsin Ertu\u011frul\u2019u tart\u0131\u015f\u0131rken asl\u0131nda kendimizi, g\u00fcn\u00fcm\u00fcz T\u00fcrkiye\u2019sinin ayd\u0131nlar\u0131n\u0131 tart\u0131\u015f\u0131yoruz. Vahram Papazyan ve Latife Han\u0131m\u2019\u0131n hayaletleri sayesinde Muhsin Ertu\u011frul\u2019un aynas\u0131nda kendimizi sorguluyoruz.<\/p>\n.<\/figcaption><\/figure>\n\u2018MUHS\u0130N ERTU\u011eRUL\u2019UN KEND\u0130 YAZDIKLARI YAYINLANANLARDAN \u00c7OK DAHA FAZLA\u2019<\/h4>\n Ele\u015ftirilere gelirsek\u2026 \u00d6zellikle Vahram Papazyan, Ertu\u011frul\u2019un yazd\u0131\u011f\u0131 tiyatro tarihindeki kimi yerleri fazla \u201ca\u011fdal\u0131\u201d, yani sans\u00fcrl\u00fc buluyor. Bu duruma dair neler s\u00f6ylemek istersiniz?<\/strong><\/p>\nDo\u011frusu Muhsin Ertu\u011frul\u2019un an\u0131lar\u0131nda baz\u0131 \u201csans\u00fcrl\u00fc\u201d yerler oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum. Mesela annesinden neredeyse hi\u00e7 bahsetmiyor. Bir yerde, \u201cAnnem M\u00fcsl\u00fcmand\u0131\u201d diyor. Annesinin Alman as\u0131ll\u0131 biri oldu\u011funu, soyad\u0131n\u0131n \u201cVerdrih\u201d oldu\u011funu, evlendikten sonra M\u00fcsl\u00fcmanl\u0131\u011fa ge\u00e7ti\u011fini ba\u015fka kaynaklardan \u00f6\u011freniyoruz. Oysa bence annesinin Alman as\u0131ll\u0131 olmas\u0131n\u0131n Muhsin Ertu\u011frul\u2019un T\u00fcrk ayd\u0131n\u0131nda ender g\u00f6r\u00fclen hasletlere (\u00e7al\u0131\u015fkanl\u0131k, kat\u0131 bir disiplin, kurumsall\u0131\u011fa odaklanma, vb.) sahip olmas\u0131nda bir pay\u0131 vard\u0131r. Bundan bahsetmiyor olu\u015fu yad\u0131rgat\u0131yor insan\u0131. Ya da sayfalarca Ermeni oyuncular\u0131n tiyatromuza katk\u0131lar\u0131ndan bahsediyor ama sahneden nas\u0131l silindikleri konusunda pek bir kelam etmiyor.<\/p>\n
Ama \u00f6te yandan \u015funu da belirtmek laz\u0131m: Sonu\u00e7ta Muhsin Ertu\u011frul\u2019un an\u0131lar\u0131 kendisi vefat ettikten sonra editoryal bir filtreden ge\u00e7erek yay\u0131nlanm\u0131\u015f. Yani kendisinin yazd\u0131klar\u0131 yay\u0131nlananlardan \u00e7ok daha fazla. Bu t\u00fcr k\u00fc\u00e7\u00fck sans\u00fcrler yay\u0131na haz\u0131rlanma s\u0131ras\u0131nda edit\u00f6rler taraf\u0131ndan da ger\u00e7ekle\u015ftirilmi\u015f olabilir.<\/p>\n
Oyuncu olmak isteyen gen\u00e7lere tavsiyeleriniz neler?<\/strong><\/p>\nBu \u00e7ok uzun bir cevab\u0131 hak eden bir soru ama \u00e7ok k\u0131sa cevaplamaya \u00e7al\u0131\u015faca\u011f\u0131m. Birincisi \u00e7ok \u00e7al\u0131\u015fmak. Kendine kar\u015f\u0131 ele\u015ftiriyi ihmal etmeden \u00e7ok \u00e7al\u0131\u015fmak. Ele\u015ftirel bak\u0131\u015f\u0131 hi\u00e7 kaybetmemek ve hi\u00e7bir zaman \u201cben art\u0131k oyuncu oldum\u201d moduna girmemek. \u0130kincisi \u00e7ok okumak, ara\u015ft\u0131rmak. Sadece tiyatroyla ilgili de\u011fil, di\u011fer toplumsal ve k\u00fclt\u00fcrel meselelerle ilgili okumak, tart\u0131\u015fmak, bir duru\u015f ve bak\u0131\u015f geli\u015ftirmek. \u00dc\u00e7\u00fcnc\u00fcs\u00fc kal\u0131c\u0131 ve derin i\u015flere yo\u011funla\u015fmak, ge\u00e7ici ve y\u00fczeysel i\u015flerle tatmin olmamak. Son olarak da tiyatronun kolektif bir sanat oldu\u011funu unutmadan, kolektifin bir par\u00e7as\u0131 olarak \u00e7al\u0131\u015fma alan\u0131nda var olmay\u0131 becermek. Daha onlarca tavsiye yazabilirim ama belki de kendi alt\u0131m\u0131 oyacak bir tavsiye vereyim: Tavsiyelere \u00e7ok fazla kulak asmamak.<\/p>\n
Son zamanlarda neler yap\u0131yorsunuz? Masan\u0131zda bizim i\u00e7in neler var?<\/strong><\/p>\n\u015eu anda Almanya\u2019dan Tri-b\u00fchne ile ortak yap\u0131m olarak, metnini Sevilay Saral\u2019\u0131n yazd\u0131\u011f\u0131 \u201cAfet ile Diana\u201d oyununun \u00e7al\u0131\u015fmalar\u0131 s\u00fcr\u00fcyor. May\u0131s\u2019ta Stutgart\u2019ta SETT Festivali\u2019nde pr\u00f6miyer yapacak. Bunun yan\u0131 s\u0131ra \u201cZabel\u201d oyunumuzdakine benzer bir anlay\u0131\u015fla Sevgi Soysal \u00fczerine bir oyun projesini 2023-24 sezonunda seyirci ile bulu\u015fturmay\u0131 planl\u0131yoruz. Ayr\u0131ca Karde\u015f T\u00fcrk\u00fcler\u2019in 30. y\u0131l\u0131 nedeniyle yap\u0131lacak konserlere BGST-Tiyatro olarak biz de \u00e7e\u015fitli d\u00fczeylerde katk\u0131da bulunaca\u011f\u0131z.<\/p>\n
Oyun takvimini bizimle payla\u015f\u0131r m\u0131s\u0131n\u0131z?<\/strong><\/p>\n\u201cKim Var Orada \/ Muhsin Bey\u2019in Son Hamlet\u2019i\u201d 16 \u015eubat\u2019ta Moda Sahnesi\u2019nde izleyiciyle bulu\u015facak.\u00a0Bu sezon seyirciyle bulu\u015fan tek ki\u015filik oyunumuz \u201cSon \u00c7a\u011fr\u0131\u201d ise 10 \u015eubat\u2019ta Sahne Pulcherie\u2019de.<\/p>\n
https:\/\/www.gazeteduvar.com.tr\/cuneyt-yalaz-turkiyede-modern-tiyatronun-kurucu-unsuru-ermeni-sanatcilardir-haber-1601497<\/a><\/strong><\/em><\/p>\n\n
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\u00a0<\/strong><\/em><\/h3>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"\u201cKim Var Orada? Muhsin Bey\u2019in Son Hamlet\u2019i oyununun yazar\u0131, y\u00f6netmeni ve oyuncusu C\u00fcneyt Yalaz\u2019la konu\u015ftuk. Yalaz, \u201cOyunda g\u00fcn\u00fcm\u00fcz T\u00fcrkiyesi\u2019nin ayd\u0131nlar\u0131n\u0131 da tart\u0131\u015f\u0131yoruz\u201d dedi. Okan \u00c7il DUVAR \u2013\u00a0BGST-Tiyatro kapsam\u0131nda sahnelenen \u201cKim Var Orada? Muhsin Bey\u2019in Son Hamlet\u2019i\u201d ilk g\u00fcn\u00fcnden itibaren bir s\u00fcr\u00fc \u00f6d\u00fcle lay\u0131k g\u00f6r\u00fclerek \u015fimdiye kadar gelen g\u00fc\u00e7l\u00fc, ele\u015ftirel, h\u00fcz\u00fcnl\u00fc bir oyun. An\u0131lar\u0131n\u0131 yazmak i\u00e7in […]<\/p>\n","protected":false},"author":7,"featured_media":72332,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,71],"tags":[],"class_list":["post-72330","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-mulakatlar"],"yoast_head":"\n
C\u00fcneyt Yalaz: T\u00fcrkiye\u2019de modern tiyatronun kurucu unsuru Ermeni sanat\u00e7\u0131lard\u0131r - 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=72330\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"C\u00fcneyt Yalaz: T\u00fcrkiye\u2019de modern tiyatronun kurucu unsuru Ermeni sanat\u00e7\u0131lard\u0131r - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"\u201cKim Var Orada? Muhsin Bey\u2019in Son Hamlet\u2019i oyununun yazar\u0131, y\u00f6netmeni ve oyuncusu C\u00fcneyt Yalaz\u2019la konu\u015ftuk. Yalaz, \u201cOyunda g\u00fcn\u00fcm\u00fcz T\u00fcrkiyesi\u2019nin ayd\u0131nlar\u0131n\u0131 da tart\u0131\u015f\u0131yoruz\u201d dedi. Okan \u00c7il DUVAR \u2013\u00a0BGST-Tiyatro kapsam\u0131nda sahnelenen \u201cKim Var Orada? Muhsin Bey\u2019in Son Hamlet\u2019i\u201d ilk g\u00fcn\u00fcnden itibaren bir s\u00fcr\u00fc \u00f6d\u00fcle lay\u0131k g\u00f6r\u00fclerek \u015fimdiye kadar gelen g\u00fc\u00e7l\u00fc, ele\u015ftirel, h\u00fcz\u00fcnl\u00fc bir oyun. 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Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/akunq.net\/tr\/?p=72330","og_locale":"en_US","og_type":"article","og_title":"C\u00fcneyt Yalaz: T\u00fcrkiye\u2019de modern tiyatronun kurucu unsuru Ermeni sanat\u00e7\u0131lard\u0131r - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","og_description":"\u201cKim Var Orada? 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