Berken D\u00f6ner<\/a><\/strong><\/p>\nYak\u0131n d\u00f6nem tarihi ara\u015ft\u0131rmalar\u0131 ile tan\u0131d\u0131\u011f\u0131m\u0131z Nesim Ovadya \u0130zrail, son y\u0131llarda Osmanl\u0131-T\u00fcrkiye tiyatro tarihi \u00fczerine odakland\u0131\u011f\u0131 yol a\u00e7\u0131c\u0131 \u00e7al\u0131\u015fmalar\u0131yla literat\u00fcre de\u011ferli katk\u0131larda bulunuyor. Nesim Ovadya \u0130zrail\u2019in\u00a0Osmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar<\/em>\u00a0kitab\u0131 ile ba\u015flayan tiyatro tarihi ara\u015ft\u0131rmalar\u0131,\u00a0D\u00fc\u015fler Sahnesinde (Rejis\u00f6r A\u015fod Madatyan ve Kozmopolitizmden Milliyet\u00e7ili\u011fe T\u00fcrkiye\u2019de Tiyatro 1902-1962)<\/em>\u00a0ile devam ediyor.\u00a0 Bu uzun soluklu olaca\u011f\u0131 \u015fimdiden belli olan y\u00fcr\u00fcy\u00fc\u015f\u00fcn ilk ad\u0131m\u0131n\u0131 hat\u0131rlayal\u0131m\u2026 \u0130zrail,\u00a0\u015eahinyanlar<\/em>\u00a0kitab\u0131nda, Osmanl\u0131 d\u00f6neminde tiyatro \u00e7al\u0131\u015fmalar\u0131na ba\u015flayan ve M\u0131nakyan Tiyatrosu\u2019nun daimi kadrosunda yer alan Vahan \u015eahinyan\u2019\u0131n ya\u015fam ser\u00fcvenini, sahne \u00e7al\u0131\u015fmalar\u0131n\u0131, 1915 ko\u015fullar\u0131nda \u0130stanbul Ermeni cemaatinin tiyatro yapma motivasyonunu ele al\u0131yordu.<\/p>\nD\u00fc\u015fler Sahnesinde, 216 syf., Aras Yay\u0131nc\u0131l\u0131k, 2022<\/figcaption><\/figure>\n\u0130zrail, ge\u00e7ti\u011fimiz aylarda Aras Yay\u0131nc\u0131l\u0131k taraf\u0131ndan yay\u0131nlanan kitab\u0131nda, bu kez A\u015fod Madatyan\u2019\u0131n hayat \u00f6yk\u00fcs\u00fc oda\u011f\u0131nda bir d\u00f6nemin (1902-1962) tiyatrosunu inceliyor. Sanat\u00e7\u0131n\u0131n ya\u015fam \u00f6yk\u00fcs\u00fcnden, tan\u0131kl\u0131klardan yola \u00e7\u0131karak son d\u00f6nem Osmanl\u0131 tarihine, Me\u015frutiyet\u2019e ve erken Cumhuriyet d\u00f6nemi tiyatrosuna odaklan\u0131yor.\u00a0D\u00fc\u015fler Sahnesi<\/em>\u2018nde, tiyatro perdesinin ard\u0131nda kalanlar\u0131n seslerinin yeniden yank\u0131lanmas\u0131na olanak tan\u0131yor. Nesim Ovadya \u0130zrail ile birlikte, tiyatro tarihimiz \u00fczerine yeniden d\u00fc\u015f\u00fcnelim.<\/p>\nSizi son y\u0131llarda Ermeni tiyatro tarihini ara\u015ft\u0131rmaya y\u00f6nelten dinamikler nelerdi? Bu kitap i\u00e7in nas\u0131l bir \u00f6n haz\u0131rl\u0131k yapt\u0131n\u0131z, hangi kaynaklardan yararland\u0131n\u0131z?<\/strong><\/p>\nOsmanl\u0131 co\u011frafyas\u0131na Bat\u0131l\u0131 tarzda tiyatro, Avrupa ile ili\u015fkilerde en \u00f6nde duran Ermeniler sayesinde geldi. 19. y\u00fczy\u0131l\u0131n ortalar\u0131nda profesyonel olarak ba\u015flayan tiyatro faaliyetleri Ermeni ayd\u0131nlar\u0131, sanat\u00e7\u0131lar\u0131, y\u00f6netmenleri, rejis\u00f6rleri ve giri\u015fimcileri taraf\u0131ndan Me\u015fruti Anayasa\u2019n\u0131n il\u00e2n edildi\u011fi 1908\u2019e kadar devam etti, bu topraklarda sahnenin devaml\u0131l\u0131\u011f\u0131 ba\u015far\u0131l\u0131 bir \u015fekilde sa\u011fland\u0131. Avrupa\u2019daki sahne performanslar\u0131n\u0131 aratmayacak g\u00f6sterilerle ba\u015far\u0131l\u0131 ve \u00fcnl\u00fc sanat\u00e7\u0131lar yeti\u015fti ve g\u00f6n\u00fcll\u00fc gen\u00e7 T\u00fcrk sanat\u00e7\u0131lar\u0131n yeti\u015fmesine, tecr\u00fcbe kazanmas\u0131na imkanlar haz\u0131rland\u0131. Bu elli y\u0131ll\u0131k d\u00f6nemde, toplumsal ve sosyal nedenlerle \u00e7ok az say\u0131da T\u00fcrk sanat\u00e7\u0131 sahneye \u00e7\u0131kt\u0131. Elli y\u0131l\u0131n sahnesi neredeyse tamamen Ermenilerden olu\u015ftu.<\/p>\n
G\u00fcn\u00fcm\u00fczde T\u00fcrkiye tiyatro tarihi anlat\u0131m\u0131nda bu bahsetti\u011fim ger\u00e7e\u011fin, iki de\u011ferli tiyatro tarih\u00e7isi, Refik Ahmet Sevengil ve Metin And d\u0131\u015f\u0131nda yeterince do\u011fru anlat\u0131lmad\u0131\u011f\u0131, Ermenilerin kurucu unsur oldu\u011funun yok say\u0131lmaya \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 veya \u00e7ok k\u0131sa a\u00e7\u0131klamalarla adeta ge\u00e7i\u015ftirildi\u011fini g\u00f6rd\u00fcm. Bu \u201cyok sayma\u201d anlay\u0131\u015f\u0131 beni bu konuyla ilgilenmeye, ara\u015ft\u0131rmaya ve tespitlerimi payla\u015fmaya sevk etti.\u00a0D\u00fc\u015fler Sahnesinde-Rejis\u00f6r A\u015fod Madatyan ve Kozmopolitizmden Milliyet\u00e7ili\u011fe T\u00fcrkiye\u2019de Tiyatro 1902-1962<\/em>\u00a0ba\u015fl\u0131kl\u0131 kitap, ara\u015ft\u0131rma ve \u00e7al\u0131\u015fmalar\u0131m\u0131n bir b\u00f6l\u00fcm\u00fcn\u00fc i\u00e7ermektedir. Daha \u00f6nce 2018\u2019de yay\u0131mlanan bir di\u011fer \u00e7al\u0131\u015fmam olan\u00a0Osmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar<\/em>\u00a0da ba\u015fka bir b\u00f6l\u00fcm\u00fcn\u00fc kapsamaktad\u0131r. Bu iki kitap ile ilgili \u00f6n haz\u0131rl\u0131klar\u0131m, 2000\u2019li y\u0131llar\u0131n ba\u015f\u0131ndan beri aral\u0131klarla ve son on y\u0131lda daha istikrarl\u0131 \u00e7al\u0131\u015fmalarla devam ediyor. Kaynaklar\u0131m, elbette T\u00fcrk tiyatro tarihi ara\u015ft\u0131rmac\u0131lar\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131, onlar\u0131n i\u015faret etti\u011fi birincil kaynaklar ve en \u00f6nemlisi Osmanl\u0131\u2019da ve Cumhuriyet\u2019te yay\u0131nlanm\u0131\u015f Ermenice yerel s\u00fcreli yay\u0131nlar, makaleler, ara\u015ft\u0131rmalarla desteklenmektedir. Burada \u00f6zellikle belirtmem gerekiyor ki Bat\u0131 Ermenicenin anavatan\u0131 \u0130stanbul\u2019dur. D\u00fcnyan\u0131n her taraf\u0131nda kullan\u0131l\u0131r ama yine de esas kaynak buras\u0131d\u0131r ve sadece tiyatro alan\u0131nda de\u011fil her alanda \u00e7ok zengin bir birikime ve literat\u00fcre sahiptir. Bat\u0131 Ermenice ile desteklenen tarihle ilgili bir\u00e7ok alandaki ara\u015ft\u0131rmalar\u0131n daha zenginle\u015fece\u011fini ifade etmek isterim.<\/p>\n\u00c7al\u0131\u015fmalar\u0131n\u0131z\u0131n da katk\u0131s\u0131yla \u00fclkemizde tiyatro tarihinin Ermenilerle ba\u015flad\u0131\u011f\u0131n\u0131 \u00f6\u011freniyoruz. Bu alanda \u00e7al\u0131\u015fmak zor mu? Konu hakk\u0131nda yeterince bilgi ve belge var m\u0131?<\/strong><\/p>\nErmenice olarak \u00e7ok zengin ve kapsaml\u0131 bir kaynak\u00e7a mevcut. \u0130stanbul\u2019daki Ermeni toplumunun \u00e7ok bilinmeyen k\u00fct\u00fcphaneleri var ve g\u00fcn\u00fcm\u00fczde bunlar\u0131n baz\u0131lar\u0131 ara\u015ft\u0131rmac\u0131lara a\u00e7\u0131k. A\u00e7\u0131k olmayanlara ba\u015fvuruldu\u011funda yard\u0131mc\u0131 olundu\u011fu g\u00f6r\u00fclecektir. Ayr\u0131ca Ermenistan, \u0130stanbul ve di\u011fer \u00fclkelerdeki kaynaklar\u0131 d\u00fczenli bir \u015fekilde ve online olarak ara\u015ft\u0131rmac\u0131 ve okuyucularla payla\u015fmaktad\u0131r. Dar\u0131s\u0131 ba\u015f\u0131m\u0131za! Bunu s\u00f6ylerken T\u00fcrkiye\u2019deki k\u00fct\u00fcphanelerde de \u00f6nemli Ermenice kaynaklar oldu\u011funu belirtmem gerekiyor. K\u00fct\u00fcphanelerimizde de dijitalle\u015fme y\u00f6n\u00fcnde \u00e7abalar oldu\u011funu g\u00f6r\u00fcyorum. Kamuda bu konudaki anlay\u0131\u015flarda de\u011fi\u015fiklikler oldu\u011funu g\u00f6r\u00fcyor ve izliyorum. Bu alanda \u00e7al\u0131\u015fman\u0131n zorlu\u011funa gelince, k\u0131smen kat\u0131labilirim. Zira bu kaynaklara ula\u015fsan\u0131z bile Ermenice bilmeniz gerekmektedir. Ermenice \u00f6\u011frenmek i\u00e7in son y\u0131llarda imkanlar \u00e7o\u011falmakta, hatta \u00fcniversitelerimizde de Ermeni k\u00fclt\u00fcr\u00fc ile ilgili b\u00f6l\u00fcmler a\u00e7\u0131lmakta ve halen bu b\u00f6l\u00fcmlerde d\u00f6rt y\u0131ll\u0131k e\u011fitimlerini s\u00fcrd\u00fcren ve mezun olan \u00f6\u011frenciler bulunmakta. Ben de Ermeniceyi kurslara giderek \u00f6\u011frendim ve bug\u00fcn konu\u015fam\u0131yorsam da kaynaklar \u00fczerinde ara\u015ft\u0131rmalar\u0131m\u0131 yapabilecek seviyeye geldim.<\/p>\n
OSMANLI\u2019NIN \u00c7OK K\u00dcLT\u00dcRL\u00dc T\u0130YATRO ORTAMI ME\u015eRUT\u0130YET\u2019TEN SONRA Z\u0130RVEYE \u00c7IKTI\u2019<\/h2>\n Peki, Bat\u0131l\u0131 anlamda Modern T\u00fcrkiye Tiyatrosu\u2019nun ba\u015flang\u0131c\u0131nda neden Ermeniler vard\u0131? Osmanl\u0131 toplumunun \u00e7ok k\u00fclt\u00fcrl\u00fc tiyatro ortam\u0131n\u0131 analiz edersek Ermenilerin varl\u0131\u011f\u0131n\u0131 nas\u0131l konumland\u0131rabiliriz?<\/strong><\/p>\nBat\u0131da, Molierelerin, Shakespearelerin ya\u015fad\u0131\u011f\u0131 ve g\u00fcn\u00fcm\u00fcze kadar gelen tiyatro eserlerini yazd\u0131klar\u0131 g\u00fcnlerden bug\u00fcne 400-450 y\u0131l ge\u00e7mi\u015f. Osmanl\u0131\u2019da Avrupai tiyatro sahnesinin ba\u015flad\u0131\u011f\u0131 19. y\u00fczy\u0131l ortalar\u0131ndan bug\u00fcne yakla\u015f\u0131k 170 y\u0131l ge\u00e7ti\u011fini d\u00fc\u015f\u00fcn\u00fcrsek, bu konuda ortalama 250 y\u0131l gecikti\u011fimizi g\u00f6r\u00fcyoruz. \u00c7ok bilinen, matbaan\u0131n 250 y\u0131l sonra Osmanl\u0131\u2019ya gelmesi gibi. Tiyatroyu tan\u0131mak i\u00e7in bat\u0131ya gitmek, bat\u0131dan \u00f6\u011frenmek ve de ayn\u0131 faaliyeti yapabilmek i\u00e7in Osmanl\u0131\u2019da gerekli ko\u015fullar\u0131n haz\u0131r ve m\u00fcsait olmas\u0131 gerekmekteydi. \u00d6ncelikle 19. y\u00fczy\u0131lda 1839\u2019da Tanzimat\u2019\u0131n ilan edilmesiyle reformlara kap\u0131lar a\u00e7\u0131lm\u0131\u015f ve Osmanl\u0131 devleti kendini ve halk\u0131n\u0131 tiyatro ile bulu\u015fturma anlay\u0131\u015f\u0131n\u0131 kabul etmi\u015fti. Osmanl\u0131\u2019da askeri ve k\u00fclt\u00fcrel g\u00fcce sahip y\u00f6netim kademelerindeki T\u00fcrkler, yabanc\u0131 dil bilen sefirler, bat\u0131 tarz\u0131 okullarda e\u011fitim alan b\u00fcrokratlar siyasal se\u00e7kinleri olu\u015fturuyordu, ancak ekonomik temelli T\u00fcrk burjuvazisini geli\u015ftiremiyorlard\u0131. Bat\u0131 ile k\u00fclt\u00fcrel ve ekonomik ili\u015fkilerde devleti y\u00f6neten b\u00fcrokratik elitlerden daha \u00f6nde bulunan Gayrim\u00fcslimler, \u00f6zel olarak Ermeni toplumu ise kendi burjuvazisini olu\u015fturma ad\u0131mlar\u0131n\u0131 at\u0131yordu. \u0130slami ideolojinin barikatlar\u0131n\u0131 a\u015fan bat\u0131 burjuvazisinin k\u00fclt\u00fcr\u00fc Ermeni toplumunu ayd\u0131nlanma y\u00f6n\u00fcnde geli\u015ftirmi\u015fti. Avrupa\u2019ya e\u011fitim i\u00e7in giden, \u00f6zel olarak Venedik\u2019te bulunan M\u0131khitarist Okulu\u2019nda edebiyat ve felsefe alan\u0131nda yeti\u015fen Ermeni gen\u00e7ler tiyatroyu ve k\u00fclt\u00fcr\u00fcn\u00fc \u00f6\u011frenerek \u0130stanbul\u2019a getirmi\u015fti. Bu yolla \u0130stanbul\u2019a ula\u015fan tiyatro Ermeni toplumu i\u00e7inde k\u00f6k salmaya ba\u015flad\u0131. Ermeni burjuvazisi k\u00fclt\u00fcrel \u00f6zg\u00fcrl\u00fck ve sosyal ya\u015fam alan\u0131nda aray\u0131\u015flara girerek, \u00f6nce varl\u0131kl\u0131 ailelerin evlerindeki salonlarda ba\u015flayan tiyatro faaliyetleriyle, daha sonra Ermeni okullar\u0131n salonlar\u0131na, oradan da profesyonel sahne faaliyetlerine do\u011fru ge\u00e7i\u015f yapt\u0131. Okul tiyatrosu profesyonel tiyatronun ilk haz\u0131rl\u0131\u011f\u0131yd\u0131 ve \u0130stanbul\u2019un Ermeni akt\u00f6rlerinin ilk ku\u015fa\u011f\u0131 bu okullardan \u00e7\u0131kt\u0131.<\/p>\n
Osmanl\u0131 toplumunda farkl\u0131 milletlerin birlikte ya\u015fad\u0131\u011f\u0131 \u00e7ok k\u00fclt\u00fcrl\u00fc bir yap\u0131 s\u00f6z konusuydu. Tiyatro sahnesinin faaliyete ba\u015flad\u0131\u011f\u0131 19. y\u00fczy\u0131l\u0131n ortalar\u0131ndan itibaren, Me\u015frutiyet\u2019e kadar Ermenilerin hakimiyetinden bahsediyorsak da, yap\u0131lan performanslar Ermenice ve T\u00fcrk\u00e7e dillerinde oynan\u0131yordu. Mesela G\u00fcll\u00fc Agop\u2019un (Hagop Vartovyan) Osmanl\u0131 Tiyatrosu ayn\u0131 hafta i\u00e7inde hem T\u00fcrk\u00e7e hem de Ermenice oyunlar\u0131 sahneye koyuyordu. Dolay\u0131s\u0131yla hem T\u00fcrk\u00e7e bilenlere hem de Ermenice bilenlere hitap etmesiyle \u00e7ok dilli bir niteli\u011fi vard\u0131. Me\u015frutiyet\u2019ten sonra sahnelerde art\u0131k T\u00fcrk sanat\u00e7\u0131, y\u00f6netici ve giri\u015fimcilerin de yer ald\u0131\u011f\u0131, hatta az say\u0131da da olsa ayn\u0131 oyunda bir k\u0131s\u0131m oyuncunun T\u00fcrk\u00e7e, bir k\u0131s\u0131m oyuncunun Ermenice oynayabildi\u011fi bir tablo ortaya \u00e7\u0131km\u0131\u015ft\u0131. Mesela 12 Nisan 1909\u2019da Mardiros M\u0131nakyan\u2019\u0131n Ermenice olarak ba\u015frol\u00fcn\u00fc \u00fcstlendi\u011fi \u201c\u00d6l\u00fcms\u00fcz Jirayr yahut B\u00fcy\u00fck Devrimci\u201d piyesinde, oyun iki dilde, Ermenice ve T\u00fcrk\u00e7e olarak sunulmu\u015f, adalet memurlar\u0131, polisler gibi T\u00fcrklerin oyundaki rolleri \u00f6zel olarak yine T\u00fcrk oyunculara verilmi\u015fti. Kad\u0131n rollerinden biri olan Saliha Han\u0131m bir T\u00fcrk kad\u0131n\u0131yd\u0131 ve oyunun kahraman\u0131 Jirayr\u2019\u0131n hayat arkada\u015f\u0131yd\u0131. Yine ba\u015fka bir \u00f6rnek, 18 Nisan 1912\u2019de Pera\u2019da Odeon Tiyatrosu\u2019nda Hamlet\u2019in Ermenice ve T\u00fcrk\u00e7e olarak oynanmas\u0131d\u0131r. Hamlet\u2019i Vahram Papazyan Ermenice, ba\u015fta Muhsin Ertu\u011frul olmak \u00fczere di\u011fer oyuncular T\u00fcrk\u00e7e oynam\u0131\u015flard\u0131. Osmanl\u0131 toplumunun \u00e7ok k\u00fclt\u00fcrl\u00fc tiyatro ortam\u0131 Me\u015frutiyet\u2019ten sonraki y\u0131llarda zirveye \u00e7\u0131km\u0131\u015ft\u0131r.<\/p>\n
Oysa ki \u00fclkemizde \u00e7a\u011fda\u015f tiyatronun tarihi genellikle Dar\u00fclbedayi ile ba\u015flat\u0131l\u0131yor\u2026<\/strong><\/p>\n\u0130stanbul Belediye Ba\u015fkan\u0131 Cemil Topuzlu\u2019nun giri\u015fimi ile 1914 y\u0131l\u0131nda Dar\u00fclbedayi\u2019nin kurulmas\u0131, Avrupa\u2019da \u00f6rnekleri uzun zamandan beri g\u00f6r\u00fclen kamunun \u00f6denekleriyle desteklenen tiyatrolardan \u00f6rnek al\u0131narak ger\u00e7ekle\u015fti. Bu anlamda Dar\u00fclbedayi tiyatro i\u00e7in \u00e7a\u011fda\u015f bir giri\u015fimidir. Sizin dedi\u011finiz gibi, Dar\u00fclbedayi\u2019nin, Osmanl\u0131\u2019da ve daha sonra da T\u00fcrkiye\u2019de tiyatronun ba\u015flang\u0131c\u0131 olarak ele al\u0131nd\u0131\u011f\u0131 bir ger\u00e7ektir. Hatta 1914\u2019ten 1927\u2019ye kadar belediyenin taahh\u00fct etti\u011fi \u00f6denekleri yeteri kadar ve zaman\u0131nda verememesi nedeniyle, da\u011f\u0131n\u0131kl\u0131k ve kar\u0131\u015f\u0131kl\u0131\u011f\u0131n h\u00e2kim oldu\u011fu Dar\u00fclbedayi\u2019de Muhsin Ertu\u011frul\u2019un g\u00f6reve ba\u015flad\u0131\u011f\u0131 ve istikrarl\u0131 bir y\u00f6netim olu\u015fturdu\u011fu 1927 tarihini T\u00fcrkiye\u2019de tiyatronun ba\u015flang\u0131c\u0131 olarak kabul eden g\u00f6r\u00fc\u015fler de vard\u0131r.<\/p>\n
Dar\u00fclbedayi\u2019nin kurulmas\u0131ndaki bir di\u011fer ama\u00e7, Me\u015frutiyet\u2019te tiyatroda h\u00e2l\u00e2 \u00f6nemli hakimiyete sahip olan Ermeni sanat\u00e7\u0131lar\u0131n d\u0131\u015flanmas\u0131, sahnelerin tamamen T\u00fcrk kimli\u011finden gelen sanat\u00e7\u0131lara devredilmesidir. Kurulu\u015funda Dar\u00fclbedayi\u2019ye Mardiros M\u0131nakyan\u2019\u0131n d\u0131\u015f\u0131nda hi\u00e7bir Ermeni akt\u00f6r al\u0131nmam\u0131\u015ft\u0131. M\u0131nakyan\u2019\u0131n Dar\u00fclbedayi\u2019de dram \u00f6\u011fretmeni olarak kald\u0131\u011f\u0131 s\u00fcre ise sadece 7,5 ayd\u0131r. Di\u011fer yandan T\u00fcrk ve M\u00fcsl\u00fcman kad\u0131n\u0131n \u0130slami geleneklerden dolay\u0131 sahneye \u00e7\u0131kmas\u0131n\u0131n hala yasak olmas\u0131 nedeniyle Ermeni aktrislere Dar\u00fclbedayi i\u00e7inde 1914\u2019ten 1923\u2019e kadar 9 y\u0131l yer verilmi\u015f, bu tarihten sonra ad\u0131m ad\u0131m tasfiye edilmi\u015flerdi. Bu, Ermeni erkek sanat\u00e7\u0131lar\u0131n d\u0131\u015far\u0131da b\u0131rak\u0131ld\u0131\u011f\u0131, kad\u0131n sanat\u00e7\u0131lar\u0131n i\u00e7eriye al\u0131nd\u0131\u011f\u0131, \u00e7ok k\u00fclt\u00fcrl\u00fcl\u00fckten tek k\u00fclt\u00fcrl\u00fcl\u00fc\u011fe ge\u00e7i\u015f T\u00fcrk milliyet\u00e7ili\u011fi ad\u0131na utan\u0131lacak bir tablodur. Dar\u00fclbedayi, \u00f6z be \u00f6z T\u00fcrk devlet tiyatrosu olarak kurulmu\u015ftur.<\/p>\n
\u2018A\u015eOD MADATYAN, 20. Y\u00dcZYIL ERMEN\u0130 SAHNES\u0130N\u0130N \u00d6N SIRADAK\u0130 \u0130SM\u0130D\u0130R\u2019<\/h3>\n Peki, Cumhuriyet d\u00f6neminde cemaat tiyatrolar\u0131n\u0131n ko\u015fullar\u0131 nas\u0131ld\u0131? K\u00f6kl\u00fc bir ge\u00e7mi\u015fe sahip Ermeni tiyatrosunda ne t\u00fcr geli\u015fmeler ya\u015fand\u0131?<\/strong><\/p>\nDar\u00fclbedayi\u2019nin kurulmas\u0131 Osmanl\u0131 ve T\u00fcrkiye Cumhuriyeti i\u00e7in tiyatro alan\u0131nda olmas\u0131 gereken olumlu bir giri\u015fimdi. Bu giri\u015fimin d\u0131\u015f\u0131nda kalan Ermeni sanat\u00e7\u0131lar, yeni ko\u015fullara uyum sa\u011flayarak tiyatro yapmaya devam ettiler. Dar\u00fclbedayi\u2019den sonra Ermeni tiyatro sanat\u00e7\u0131lar\u0131n\u0131n \u00f6n\u00fcne 1915-1916 y\u0131llar\u0131nda ya\u015fanan tehcir uygulamalar\u0131 geldi. Anadolu\u2019nun do\u011fusunda bulunan yo\u011fun Ermeni n\u00fcfusu azal\u0131rken, bu durum \u0130stanbul\u2019da, 24 Nisan 1915 ve sonras\u0131ndaki uygulamalara ra\u011fmen nispeten daha d\u00fc\u015f\u00fck \u015fiddette cereyan etti. A\u011f\u0131r sava\u015f ko\u015fullar\u0131 ile birlikte bir s\u00fcre s\u0131n\u0131rl\u0131 olarak etkilenen \u0130stanbul\u2019daki Ermeni sanat\u00e7\u0131lar az say\u0131da da olsa tiyatro yapmaya devam ettiler. M\u00fctareke y\u0131llar\u0131nda i\u015fgal alt\u0131ndaki ko\u015fullar, Ermeni tehcirinin sorumlular\u0131 \u0130ttihat\u00e7\u0131 y\u00f6neticilerin \u00fclkeden ka\u00e7mas\u0131 ve tasfiyesi, kar\u015f\u0131tlar\u0131 olan kadrolar\u0131n \u00fclke y\u00f6netimine gelmesi \u0130stanbul\u2019da Ermeni tiyatrocular i\u00e7in rahat nefes alabilecekleri bir ortam sundu. 1918\u2019in sonunda \u0130stanbul Ermeni Dramatik Tiyatrosu \u015femsiyesi alt\u0131nda toplanan Ermeni sanat\u00e7\u0131lar d\u00f6rt y\u0131l s\u00fcren parlak bir d\u00f6nem ge\u00e7irdiler. Bu parlak d\u00f6nemin emektar\u0131, tiyatro rejis\u00f6r\u00fc A\u015fod Madatyan\u2019d\u0131. Ayn\u0131 y\u0131llarda, Kafkasya\u2019da Ermenistan\u2019daki k\u00f6t\u00fc ko\u015fullarda tiyatro yapman\u0131n imk\u00e2ns\u0131z hale gelmesiyle, oradan da Hovhannes Sevumyan, Hovhannes Apelyan, Hovhannes Zarifyan, Vahram Papazyan, A\u015fo \u015eahkhatuni gibi \u00e7ok say\u0131da tan\u0131nm\u0131\u015f sanat\u00e7\u0131 \u0130stanbul\u2019a gelerek Ermeni Dramatik Grubu ile birlikte performanslar sergilediler. Kafkas Ermenilerinin en de\u011ferli yazarlar\u0131 Aleksandr \u015eirvanzade ve Hovhannes Tumanyan da Ermeni ayd\u0131nlar\u0131yla g\u00fc\u00e7 birli\u011fi yapmak \u00fczere \u0130stanbul\u2019a geldiler. Dar\u00fclbedayi\u2019nin primadonnas\u0131 Eliza Binemeciyan da iki tiyatro sezonu s\u00fcresince Ermeni Dramatik Grubu ile birlikte sahneye \u00e7\u0131kt\u0131. Bu grubun d\u0131\u015f\u0131nda kalan Benliyan Operet Toplulu\u011fu, Felekyan K\u0131z Karde\u015fler Tiyatro Grubu, Vahan \u015eahinyan\u2019\u0131n Kilikya Ermeni Dramatik Toplulu\u011fu da \u0130stanbul\u2019daki sahne faaliyetleriyle m\u00fctareke y\u0131llar\u0131nda \u00f6nemli performanslar sergilediler.<\/p>\nA\u015fod Madatyan, 1920Ermeni tiyatrosunda ya\u015fanan bu d\u00f6rt y\u0131ll\u0131k parlak d\u00f6nem 1922\u2019de Mustafa Kemal\u2019e ba\u011fl\u0131 askeri g\u00fc\u00e7lerin \u0130zmir\u2019e girmesi ve ard\u0131ndan ba\u015flayan yang\u0131n haberlerinin \u0130stanbul\u2019a ula\u015fmas\u0131yla geli\u015fen korku ve panik ortam\u0131nda sona erdi ve sanat\u00e7\u0131lar\u0131n \u00f6nemli bir k\u0131sm\u0131 yurt d\u0131\u015f\u0131na do\u011fru da\u011f\u0131ld\u0131. Cumhuriyet\u2019e do\u011fru giden 1923\u2019\u00fcn ilk aylar\u0131nda Ermenice tiyatro yasa\u011f\u0131 konuldu. \u0130stanbul\u2019da kalan Ermeni sanat\u00e7\u0131lar\u0131n \u0130kinci D\u00fcnya Sava\u015f\u0131 sonuna kadar Cumhuriyet\u2019in ilk 22 y\u0131l\u0131nda T\u00fcrk\u00e7e tiyatro yapmaktan ba\u015fka \u00e7areleri kalmad\u0131. Cumhuriyet\u2019in tiyatro sahnesi halkevlerine, k\u00f6y enstit\u00fclerine dahil edilerek, yeni T\u00fcrk gen\u00e7li\u011fi ve neslinin olu\u015fturulmas\u0131n\u0131n hizmetine girdi. \u0130stanbul\u2019da erken yola \u00e7\u0131kan Dar\u00fclbedayi, 1933\u2019te \u015eehir Tiyatrolar\u0131\u2019na d\u00f6n\u00fc\u015ft\u00fc. Ancak Ankara ve Mustafa Kemal, \u0130stanbul\u2019un yeti\u015fmi\u015f kadrolar\u0131ndan sadece Muhsin Ertu\u011frul ile i\u015f birli\u011fi yapt\u0131. Devlet Tiyatrosu, T\u00fcrkiye\u2019nin merkezi kurumu olarak kuruldu. \u015eehir Tiyatrolar\u0131 ise \u0130stanbul\u2019un sahnesi olarak kald\u0131. Dar\u00fclbedayi\u2019nin kurulu\u015funa kabul edilmeyen Ermeni sanat\u00e7\u0131lar, Ankara\u2019n\u0131n so\u011fuk duru\u015funa kar\u015f\u0131l\u0131k, ilerleyen y\u0131llarda sanat al\u0131\u015fveri\u015fi konusunda \u015eehir Tiyatrolar\u0131 ile daha s\u0131cak ili\u015fkiler geli\u015ftirdiler. \u0130\u015fte bu y\u0131llar\u0131n Ermeni tiyatrosu gemisinin kaptan\u0131 A\u015fod Madatyan\u2019d\u0131.<\/p>\n
A\u015fod Madatyan oyunculuktan \u00e7ok, rejis\u00f6rl\u00fc\u011f\u00fc ile biliniyor. Onu d\u00f6neminin en \u00f6nemli rejis\u00f6rlerinden yapan ko\u015fullar\u0131 konu\u015fursak neler s\u00f6yleyebiliriz? A\u015fod Madatyan olmasayd\u0131, Ermeni tiyatro tarihi nas\u0131l yaz\u0131l\u0131rd\u0131?<\/strong><\/p>\nA\u015fod Madatyan, Mardiros M\u0131nakyan\u2019\u0131n \u00f6\u011frencisi olarak 1902 y\u0131l\u0131nda sahneye \u00e7\u0131kt\u0131ktan birka\u00e7 y\u0131l sonra oyunlar\u0131n rejis\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlenmeye ba\u015flam\u0131\u015ft\u0131. Hayat\u0131n\u0131n sonuna kadar Rejis\u00f6r A\u015fod Madatyan olarak tan\u0131nd\u0131, bununla birlikte akt\u00f6rl\u00fc\u011f\u00fc de s\u00fcrd\u00fcrd\u00fc. Sakin, m\u00fctevazi, \u00e7ok \u00e7al\u0131\u015fan ama kendini fazla \u00f6n plana koymayan ki\u015fili\u011fi ile liderlik yap\u0131s\u0131n\u0131 birle\u015ftirdi. \u0130lerleyen y\u0131llarda, 20. y\u00fczy\u0131lda Ermeni sahnesinin \u00f6n s\u0131radaki ismi haline geldi. Bir s\u0131ralama yaparsak, 19. y\u00fczy\u0131l\u0131n ortas\u0131ndan itibaren \u00e7ok say\u0131da sanat\u00e7\u0131n\u0131n aras\u0131nda Ermeni tiyatrosunun \u00f6n s\u0131ras\u0131nda yer alan, liderli\u011fini yapan isimler, s\u0131ras\u0131yla \u00f6nce G\u00fcll\u00fc Agop, daha sonra Mardiros M\u0131nakyan ve sonras\u0131ndaki d\u00f6nemde A\u015fod Madatyan olmu\u015ftur. Me\u015frutiyet y\u0131llar\u0131nda Mardiros M\u0131nakyan Ermeni tiyatrosunun ba\u015frol\u00fcnde yer ald\u0131. M\u0131nakyan\u2019\u0131n 1920 y\u0131l\u0131nda vefat\u0131ndan sonra bu rol\u00fc A\u015fod Madatyan \u00fcstlenmi\u015fti. Ermenice oyun oynaman\u0131n yasak oldu\u011fu 1923-1945 y\u0131llar\u0131 aras\u0131ndaki Cumhuriyet\u2019in ilk 22 y\u0131l\u0131nda ve Ermenice oyun oynaman\u0131n serbest oldu\u011fu \u0130kinci D\u00fcnya Sava\u015f\u0131 sonras\u0131ndaki d\u00f6nemde, \u00f6l\u00fcnceye kadar \u0130stanbul\u2019da Ermeni sahnesinin \u00f6n s\u0131ras\u0131ndaki ustas\u0131 A\u015fod Madatyan olmu\u015ftur. Madatyan, profesyonel rejis\u00f6rd\u00fc. 1925-27 y\u0131llar\u0131 aras\u0131nda rejis\u00f6r ihtiyac\u0131 olan Dar\u00fclbedayi\u2019de, 1931-32\u2019de Ra\u015fit R\u0131za\u2019n\u0131n tiyatro toplulu\u011funda, 1935\u2019te \u0130stanbul\u2019da Halk Opereti Toplulu\u011fu\u2019nda, 1939-1950 y\u0131llar\u0131nda kendi ad\u0131na kurdu\u011fu A\u015fod Madatyan Tiyatro Toplulu\u011fu\u2019nda ve daha sonra St\u00fcdyo Tiyatrosu\u2019nda, 1950\u2019den sonra e\u015fi aktris L\u00fcsi Tokatl\u0131 ile beraber gitti\u011fi ve d\u00f6rt y\u0131l kald\u0131\u011f\u0131 Beyrut\u2019ta ve bunlar\u0131n d\u0131\u015f\u0131ndaki y\u0131llarda \u00e7ok say\u0131da Ermeni tiyatro gruplar\u0131na rejis\u00f6rl\u00fck yapm\u0131\u015f ve zaman zaman bizzat sahnede rol alm\u0131\u015ft\u0131r.<\/p>\n
A\u015fod Madatyan\u2019\u0131n\u00a0Sahnemizin De\u011ferleri<\/em>\u00a0adl\u0131 \u00e7al\u0131\u015fmas\u0131 \u0130n\u00f6n\u00fc devrinde yay\u0131nlan\u0131yor. D\u00f6nemin k\u00fclt\u00fcr sanat ortam\u0131 bu kitab\u0131 nas\u0131l kar\u015f\u0131lad\u0131?<\/strong><\/p>\nA\u015fod Madatyan \u00e7ok y\u00f6nl\u00fc bir tiyatro insan\u0131yd\u0131. Daha \u00f6nce belirtti\u011fim meziyetlerinin yan\u0131nda tiyatro konusunda deneme, ele\u015ftiri ve biyografik makaleleri yaz\u0131yor, yabanc\u0131 dillerden ve Ermeniceden \u00e7eviri yap\u0131yor, yine tiyatro sanat\u0131 alan\u0131nda konferanslar veriyor, Ermeni tiyatro k\u00fclt\u00fcr\u00fcn\u00fc ve tarihinin gelecek nesillere aktar\u0131lmas\u0131na \u00e7aba g\u00f6steriyordu. A\u015fod Madatyan, II. D\u00fcnya Sava\u015f\u0131\u2019na do\u011fru giden y\u0131llarda tiyatro makalelerine ve denemelerine a\u011f\u0131rl\u0131k veriyor ve bu yaz\u0131lar d\u00f6nemin yerel Ermenice bas\u0131n\u0131nda yay\u0131nlan\u0131yordu. Bu makalelerin T\u00fcrk\u00e7eye terc\u00fcme edilmesiyle,\u00a0Sahnemizin De\u011ferleri<\/em>\u00a0kitab\u0131 1943 ve 1944 y\u0131llar\u0131nda iki cilt olarak yay\u0131nlanm\u0131\u015ft\u0131. [1]<\/p>\nMustafa Kemal Atat\u00fcrk\u2019\u00fcn vefat\u0131ndan sonra ba\u015flayan \u0130smet \u0130n\u00f6n\u00fc d\u00f6neminde, Halkevleri\u2019ndeki tiyatro oyunlar\u0131n\u0131n etkisinin ve halk\u0131n ra\u011fbetinin azald\u0131\u011f\u0131 y\u0131llar geldi\u011finde, milliyet\u00e7ili\u011fin zaman\u0131n\u0131 doldurmaya ba\u015flamas\u0131yla g\u00f6reli h\u00fcmanist a\u015famaya ge\u00e7ilmi\u015fti. \u0130n\u00f6n\u00fc d\u00f6neminin uzun s\u00fcreli Maarif Vekili Hasan Ali Y\u00fccel, iktidar\u0131n merkezi bir konuma yerle\u015ftirdi\u011fi Bat\u0131ya entegre olma siyasetini, K\u00f6y Enstit\u00fcleri\u2019nin bakan\u0131 olarak k\u00fclt\u00fcr-sanat alan\u0131nda savunuyor ve tan\u0131t\u0131yordu. Avrupa\u2019n\u0131n edebi klasiklerinin terc\u00fcmesi i\u00e7in yo\u011fun bir \u00e7eviri d\u00f6nemi ba\u015flam\u0131\u015ft\u0131. Her ne kadar bunlar aras\u0131nda Ermenice \u00e7eviriler yoksa da A\u015fod Madatyan\u2019\u0131n yazd\u0131\u011f\u0131 \u00e7ok k\u00fclt\u00fcrl\u00fc\u00a0Sahnemizin De\u011ferleri<\/em>\u00a0eseri T\u00fcrk ayd\u0131nlar\u0131 aras\u0131nda olumlu bir kabul g\u00f6rd\u00fc. Eser, Osmanl\u0131 ve T\u00fcrkiye tiyatrosunun Ermeni ve T\u00fcrk sahne sanat\u00e7\u0131lar\u0131n\u0131n ele\u015ftirel de\u011ferlendirmelerine dayanan denemelerden olu\u015fuyordu. B\u00f6yle bir eserin eksikli\u011fi T\u00fcrk tiyatrosu alan\u0131nda da vard\u0131. Eser incelendi\u011fi zaman, i\u00e7inde T\u00fcrk ayd\u0131nlar\u0131n\u0131n \u00f6vg\u00fc dolu sat\u0131rlar\u0131 g\u00f6r\u00fclecektir.<\/p>\n\u2018E\u011eLENCE ARACI OLARAK T\u0130YATRO B\u0130R D\u00d6NEM \u00c7OK YAYGINDI\u2019<\/h4>\n \u0130stanbul\u2019un farkl\u0131 semtlerinde pek \u00e7ok tiyatro salonundan, kumpanyalar\u0131ndan s\u00f6z ediyorsunuz. Bu asl\u0131nda Ermeni n\u00fcfusunun bug\u00fcnk\u00fc gibi belli ba\u015fl\u0131 birka\u00e7 semte s\u0131k\u0131\u015fmad\u0131\u011f\u0131n\u0131 da g\u00f6steriyor. Di\u011fer yandan, \u015f\u00f6yle d\u00fc\u015f\u00fcn\u00fclebilir mi\u2026 Ermeni kumpanyalar\u0131na geni\u015f toplumdan da ra\u011fbet vard\u0131, diyebilir miyiz?<\/strong><\/p>\nGerek Osmanl\u0131\u2019n\u0131n son d\u00f6neminde, gerekse Cumhuriyet\u2019in ilk y\u0131llar\u0131nda \u0130stanbul\u2019un n\u00fcfusu 900 bin civar\u0131ndayd\u0131. 20. y\u00fczy\u0131l\u0131n ba\u015f\u0131nda sinema g\u00fcndeme girmeye ba\u015flam\u0131\u015fsa da hen\u00fcz geni\u015f toplumun e\u011flence ihtiyac\u0131n\u0131 kar\u015f\u0131layabilecek bir seviyede de\u011fildi. O nedenle tiyatro halk\u0131n en \u00f6nemli e\u011flencesi ve sosyalle\u015fme arac\u0131 olmaya devam etmi\u015fti. Kumpanyalar neredeyse her hafta yeni bir oyun sahneye koyarak seyirciyi tiyatro salonlar\u0131na veya yaz aylar\u0131nda a\u00e7\u0131k havada, bah\u00e7elerde kurulan ah\u015faptan yap\u0131lan g\u00fcn\u00fcbirlik sahnelerin kar\u015f\u0131s\u0131na \u00e7ekebiliyordu. Kamusal her bah\u00e7e tiyatrolar i\u00e7in bir sahneydi. Hatta baz\u0131 b\u00fcy\u00fck konaklar\u0131n geni\u015f bah\u00e7eleri tiyatro kumpanyalar\u0131na tahsis edilebiliyordu. Mesela Kad\u0131k\u00f6y\u2019de bug\u00fcn Halita\u011fa Caddesi olarak bilinen yerde birbirine \u00e7ok yak\u0131n iki konaktan biri Zambo\u011flu isimli bir Rum bankerin k\u00f6\u015fk\u00fcn\u00fcn Zambo\u011flu Bah\u00e7esi ve buna \u00e7ok yak\u0131n bir mesafede bulunan M\u0131s\u0131rl\u0131o\u011flu Bah\u00e7esi s\u00fcrekli tiyatro g\u00f6sterileri ve di\u011fer e\u011flencelerin d\u00fczenlendi\u011fi a\u00e7\u0131k hava mek\u00e2nlar\u0131yd\u0131. \u00c7ok say\u0131da Ermeni ve T\u00fcrk tiyatro kumpanyalar\u0131, \u0130stanbul\u2019un her mahallesinde, her k\u00f6\u015fesinde tiyatro g\u00f6sterilerini halka sunuyorlard\u0131. Kiras\u0131 daha d\u00fc\u015f\u00fck oldu\u011fu i\u00e7in kumpanyalar yazl\u0131k bah\u00e7eleri tercih ediyorlar ve bunun i\u00e7in s\u0131raya giriyorlard\u0131. M\u0131nakyan Kumpanyas\u0131, Kad\u0131k\u00f6y\u2019deki Zambo\u011flu Bah\u00e7esini komple kiralam\u0131\u015f ve y\u0131llarca i\u015fletmi\u015fti. Oyuncular\u0131n\u0131n neredeyse tamam\u0131 Kad\u0131k\u00f6y\u2019de ikamet ettikleri i\u00e7in Zambo\u011flu Bah\u00e7esi, M\u0131nakyan Kumpanyas\u0131\u2019n\u0131n mabedi gibiydi. Hatta bug\u00fcn Fenerbah\u00e7e Spor Kul\u00fcb\u00fc\u2019n\u00fcn Kad\u0131k\u00f6y\u2019\u00fcn kul\u00fcb\u00fc oldu\u011fu kabul g\u00f6rd\u00fc\u011f\u00fc gibi, M\u0131nakyan Kumpanyas\u0131 da Kad\u0131k\u00f6y\u2019\u00fcn tiyatro toplulu\u011fu olarak g\u00f6r\u00fcl\u00fcrd\u00fc. Sonu\u00e7 olarak, bug\u00fcn ile k\u0131yaslanmayacak kadar d\u00fc\u015f\u00fck n\u00fcfusuna kar\u015f\u0131l\u0131k, \u0130stanbul\u2019da bir e\u011flence arac\u0131 olarak tiyatronun \u00e7ok yayg\u0131n oldu\u011fu ve bu sekt\u00f6rden en b\u00fcy\u00fck pay\u0131 belli d\u00f6nemlerde Ermeni kumpanyalar\u0131n\u0131n ald\u0131\u011f\u0131 ve geni\u015f toplumdan ra\u011fbet g\u00f6rd\u00fc\u011f\u00fc s\u00f6ylenebilir.<\/p>\n
Madatyan\u2019\u0131n biyografisine bakt\u0131\u011f\u0131m\u0131zda her ko\u015fulda -sava\u015f, \u00f6l\u00fcm, g\u00f6\u00e7, s\u00fcrg\u00fcn- tiyatro yapt\u0131\u011f\u0131n\u0131, tiyatro d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcyoruz. Oysa ki hayat\u0131 boyunca \u00e7ok ac\u0131 olaylara tan\u0131kl\u0131k ediyor. Bu konudaki suskunlu\u011funu nas\u0131l yorumluyorsunuz?<\/strong><\/p>\nOsmanl\u0131 Devleti\u2019nin son y\u0131llar\u0131nda Ermeni vatanda\u015flara reva g\u00f6r\u00fclen tehcir ve soyk\u0131r\u0131ma varan uygulamalar, dini farkl\u0131 ancak vatanda\u015fl\u0131k ba\u011f\u0131yla \u00fclkemizin di\u011fer sakinleri ile ayn\u0131 haklara sahip olmas\u0131 gereken bu \u00fcretici toplum \u00f6nemli bir travma ya\u015fam\u0131\u015ft\u0131r. Bu zamandan sonra iki nesil boyunca ac\u0131lar\u0131n\u0131 i\u00e7lerine atm\u0131\u015flar, tan\u0131kl\u0131klar\u0131n\u0131 anlatmadan, \u015fikayetlerini ifade etmeden ya\u015famlar\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015flerdir. Ancak \u00fc\u00e7\u00fcnc\u00fc nesilde ya\u015fanan ac\u0131lar\u0131 anlatma k\u00fclt\u00fcr\u00fc geli\u015fmi\u015f ve g\u00fcn\u00fcm\u00fczde konu\u015fulmaya ba\u015flanm\u0131\u015ft\u0131r. A\u015fod Madatyan da sizin dedi\u011finiz gibi, tan\u0131kl\u0131k etti\u011fi ac\u0131 olaylar\u0131 hayat\u0131 boyunca d\u0131\u015fa vurmayan, \u00e2kil bir insan olarak, ki\u015fisel karakter yap\u0131s\u0131ndan da kaynaklanan suskun bir profil vermi\u015ftir denebilir.<\/p>\n
G\u00fcn\u00fcm\u00fczde \u0130stanbul Ermeni toplumunun tiyatroya y\u00f6nelik ilgisini ve bak\u0131\u015f\u0131n\u0131 nas\u0131l de\u011ferlendiriyorsunuz?<\/strong><\/p>\n1945-1955 y\u0131llar\u0131 aras\u0131nda \u0130stanbul\u2019da Ermeni tiyatrosu Ermenice oyun oynama \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fcn de etkisiyle, \u00fc\u00e7\u00fcnc\u00fc bir parlak d\u00f6nem ya\u015fam\u0131\u015ft\u0131r. Bu on y\u0131ll\u0131k zaman aral\u0131\u011f\u0131nda on kadar profesyonel Ermeni tiyatrosu kurulmu\u015ftur. Bir yandan kurulanlar kapan\u0131rken yerine yenileri faaliyete ge\u00e7mi\u015ftir. St\u00fcdyo Tiyatrosu, Gen\u00e7ler Tiyatrosu, Oksen \u015eahinyan y\u00f6netiminde M\u0131nakyan Tiyatrosu, Arti (Modern) Komedi Tiyatrosu, Vega Tiyatrosu, Arpi Tiyatro Toplulu\u011fu, \u0130stanbul Ermeni Dramatik Tiyatrosu, Nubar Terziyan ve Arkada\u015flar\u0131 Tiyatrosu ve ba\u015fka gruplar k\u0131sa veya daha uzun s\u00fcrelerle profesyonel olarak Ermenice performanslar sergilediler. Ayn\u0131 y\u0131llarda Ermeni okullar\u0131ndan mezun derneklerinin tiyatro kollar\u0131 pe\u015f pe\u015fe kurulmu\u015f ve amat\u00f6r olarak, ancak en az profesyoneller kadar \u00e7ok ba\u015far\u0131l\u0131 bir \u015fekilde oyunlar\u0131n\u0131 \u0130stanbul\u2019un t\u00fcm Ermeni halk\u0131na sunmu\u015flard\u0131r. Profesyoneller bir oyunu 5-10 kere oynarken, amat\u00f6rlerin \u00e7ok be\u011feni g\u00f6ren g\u00f6sterileri 10-15, hatta 20 kere oynanm\u0131\u015ft\u0131r. \u0130lerleyen y\u0131llarda kurulan ve uzun y\u0131llar Ermenice ve T\u00fcrk\u00e7e performanslar sahneye koyan Hagop Ayvaz y\u00f6netimindeki K\u00fc\u00e7\u00fck Tiyatro Toplulu\u011fu, Arto ve Bercuhi Berberyan y\u00f6netimindeki Berberyan Kumpanyas\u0131, Misak Toros, Bo\u011fos \u00c7alg\u0131c\u0131o\u011flu y\u00f6netimindeki Ermeni okullar\u0131ndan mezunlar\u0131n tiyatro faaliyetleri ilk etapta akla gelenlerdir. G\u00fcn\u00fcm\u00fczde Ermeni tiyatrosu amat\u00f6r gruplar taraf\u0131ndan, T\u00fcrk\u00e7e veya Ermenice olarak yap\u0131lan performanslarla devam etmektedir. K\u0131ymet bilinmesi, desteklenmesi, seslerinin \u00e7o\u011falt\u0131lmas\u0131 dileklerimle\u2026<\/p>\n
Dipnotlar:<\/strong><\/p>\n[1] Aradan ge\u00e7en uzun y\u0131llarda yeni bask\u0131s\u0131 yap\u0131lmayan Madatyan\u2019\u0131n\u00a0Sahnemizin De\u011ferleri\u00a0eseri Eyl\u00fcl 2022\u2019de Aras Yay\u0131nc\u0131l\u0131k taraf\u0131ndan tek cilt olarak yeniden bas\u0131ld\u0131.<\/em><\/p>\nhttps:\/\/www.gazeteduvar.com.tr\/asod-madatyanin-dusler-sahnesinden-yankilananlar-makale-1607659<\/a><\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"Nesim Ovadya \u0130zrail\u2019in Osmanl\u0131-T\u00fcrkiye tiyatro tarihi ara\u015ft\u0131rmalar\u0131, Aras Yay\u0131nc\u0131l\u0131k taraf\u0131ndan yay\u0131nlanan D\u00fc\u015fler Sahnesinde kitab\u0131 ile devam ediyor. Kitapta, A\u015fod Madatyan\u2019\u0131n hayat \u00f6yk\u00fcs\u00fc oda\u011f\u0131nda bir d\u00f6nemin tiyatrosunu inceleyen \u0130zrail, \u201cAvrupa\u2019ya e\u011fitim i\u00e7in giden Ermeni gen\u00e7ler tiyatroyu ve k\u00fclt\u00fcr\u00fcn\u00fc \u00f6\u011frenerek \u0130stanbul\u2019a getirmi\u015fti. Bu yolla \u0130stanbul\u2019a ula\u015fan tiyatro Ermeni toplumu i\u00e7inde k\u00f6k salmaya ba\u015flad\u0131\u201d diyor. Berken D\u00f6ner Yak\u0131n […]<\/p>\n","protected":false},"author":7,"featured_media":73025,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,54,71],"tags":[],"class_list":["post-73023","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-kitaplar-elestiriler","category-mulakatlar"],"yoast_head":"\n
A\u015fod Madatyan\u2019\u0131n d\u00fc\u015fler sahnesinden yank\u0131lananlar - 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=73023\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"A\u015fod Madatyan\u2019\u0131n d\u00fc\u015fler sahnesinden yank\u0131lananlar - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Nesim Ovadya \u0130zrail\u2019in Osmanl\u0131-T\u00fcrkiye tiyatro tarihi ara\u015ft\u0131rmalar\u0131, Aras Yay\u0131nc\u0131l\u0131k taraf\u0131ndan yay\u0131nlanan D\u00fc\u015fler Sahnesinde kitab\u0131 ile devam ediyor. Kitapta, A\u015fod Madatyan\u2019\u0131n hayat \u00f6yk\u00fcs\u00fc oda\u011f\u0131nda bir d\u00f6nemin tiyatrosunu inceleyen \u0130zrail, \u201cAvrupa\u2019ya e\u011fitim i\u00e7in giden Ermeni gen\u00e7ler tiyatroyu ve k\u00fclt\u00fcr\u00fcn\u00fc \u00f6\u011frenerek \u0130stanbul\u2019a getirmi\u015fti. Bu yolla \u0130stanbul\u2019a ula\u015fan tiyatro Ermeni toplumu i\u00e7inde k\u00f6k salmaya ba\u015flad\u0131\u201d diyor. 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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=73023","og_locale":"en_US","og_type":"article","og_title":"A\u015fod Madatyan\u2019\u0131n d\u00fc\u015fler sahnesinden yank\u0131lananlar - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","og_description":"Nesim Ovadya \u0130zrail\u2019in Osmanl\u0131-T\u00fcrkiye tiyatro tarihi ara\u015ft\u0131rmalar\u0131, Aras Yay\u0131nc\u0131l\u0131k taraf\u0131ndan yay\u0131nlanan D\u00fc\u015fler Sahnesinde kitab\u0131 ile devam ediyor. Kitapta, A\u015fod Madatyan\u2019\u0131n hayat \u00f6yk\u00fcs\u00fc oda\u011f\u0131nda bir d\u00f6nemin tiyatrosunu inceleyen \u0130zrail, \u201cAvrupa\u2019ya e\u011fitim i\u00e7in giden Ermeni gen\u00e7ler tiyatroyu ve k\u00fclt\u00fcr\u00fcn\u00fc \u00f6\u011frenerek \u0130stanbul\u2019a getirmi\u015fti. Bu yolla \u0130stanbul\u2019a ula\u015fan tiyatro Ermeni toplumu i\u00e7inde k\u00f6k salmaya ba\u015flad\u0131\u201d diyor. 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