{"id":75732,"date":"2023-08-31T02:26:04","date_gmt":"2023-08-31T07:26:04","guid":{"rendered":"https:\/\/akunq.net\/tr\/?p=75732"},"modified":"2023-08-31T02:39:32","modified_gmt":"2023-08-31T07:39:32","slug":"tanzimat-istibdat-ve-mesrutiyet-minakyan-kumpanyasi","status":"publish","type":"post","link":"https:\/\/akunq.net\/tr\/?p=75732","title":{"rendered":"Tanzimat, \u0130stibdat ve Me\u015frutiyet: M\u0131nakyan Kumpanyas\u0131"},"content":{"rendered":"

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Mardiros M\u0131nakyan istibdat ko\u015fullar\u0131nda, bat\u0131l\u0131 tiyatro yapan tek kumpanya olarak 1908 II. Me\u015frutiyet kav\u015fa\u011f\u0131na kadar Osmanl\u0131 Dram Kumpanyas\u0131\u2019n\u0131 ayakta tuttu, yeni oyuncular yeti\u015ftirdi, tiyatro k\u00fclt\u00fcr\u00fcn\u00fc tan\u0131tarak, gericili\u011fe kar\u015f\u0131 bat\u0131l\u0131 ya\u015fam \u00e7izgisini izleyerek Osmanl\u0131 halk\u0131n\u0131 e\u011fitti.<\/strong><\/em><\/p>\n

Berken D\u00f6ner<\/strong><\/p>\n

Nesim Ovadya \u0130zrail\u2019in\u00a0Osmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar\u00a0kitab\u0131 ile ba\u015flayan tiyatro tarihi ara\u015ft\u0131rmalar\u0131,\u00a0Tanzimat, \u0130stibdat ve Me\u015frutiyet Tiyatrosu\u2019nda Mardiros M\u0131nakyan ile devam ediyor. Ge\u00e7ti\u011fimiz g\u00fcnlerde Kor Yay\u0131nevi taraf\u0131ndan yay\u0131mlanan kitap, be\u015f kitaptan olu\u015fmas\u0131 \u00f6ng\u00f6r\u00fclen serinin \u00fc\u00e7\u00fcnc\u00fc kitab\u0131. \u0130zrail, serinin ilk kitab\u0131 olan \u015eahinyanlar\u2019da 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. \u0130zrail\u2019in tiyatro tarihine y\u00f6nelik ara\u015ft\u0131rmalar\u0131 D\u00fc\u015fler Sahnesinde (Rejis\u00f6r A\u015fod Madatyan ve Kozmopolitizmden Milliyet\u00e7ili\u011fe T\u00fcrkiye\u2019de Tiyatro 1902-1962)\u00a0ile devam etti. Bu kitapta A\u015fod Madatyan\u2019\u0131n hayat \u00f6yk\u00fcs\u00fc oda\u011f\u0131nda bir d\u00f6nemin (1902-1962) tiyatrosunu inceledi. 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 odakland\u0131. Mardiros M\u0131nakyan kitab\u0131nda ise, M\u0131nakyan oda\u011f\u0131nda Osmanl\u0131\u2019da ve T\u00fcrkiye\u2019de tiyatronun kurucusu Ermenilerin, sahneden uzakla\u015ft\u0131r\u0131lma s\u00fcrecini kapsaml\u0131 bi\u00e7imde ele al\u0131yor. Tiyatro tarihimizi birlikte hat\u0131rlayal\u0131m.<\/p>\n

\u015eahinyan ve Madatyan\u2019dan sonra nihayet M\u0131nakyan kitab\u0131! \u0130lk iki kitab\u0131n\u0131zda da M\u0131nakyan ad\u0131 \u00e7ok ge\u00e7erdi. Mardiros M\u0131nakyan ile yollar\u0131n\u0131z nas\u0131l kesi\u015fti? Bu konuda deneyimlisiniz\u2026 Nas\u0131l bir \u00f6n \u00e7al\u0131\u015fma yapt\u0131n\u0131z?<\/strong><\/p>\n

Ermeni tiyatrosu ve oyuncular\u0131 \u00fczerine ara\u015ft\u0131rmalar\u0131m 2000\u2019li y\u0131llar\u0131n ba\u015f\u0131ndan itibaren usul usul ba\u015flam\u0131\u015ft\u0131. E\u015fimin ailesinde birka\u00e7 nesil tiyatro yapan ve kay\u0131nvalideme kadar gelen bir\u00e7ok isim vard\u0131. Bu insanlar\u0131 bulup ortaya \u00e7\u0131karman\u0131n bana d\u00fc\u015ft\u00fc\u011f\u00fcne karar vermi\u015ftim. Aksi halde bu isimlerin ya\u015fad\u0131klar\u0131 bo\u015flukta kal\u0131p kaybolacakt\u0131. Bu ara\u015ft\u0131rmam\u0131n sonunda 2018 y\u0131l\u0131nda \u201cOsmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar\u201d ba\u015fl\u0131kl\u0131 ilk kitab\u0131m \u00e7\u0131kt\u0131. Bu \u00e7al\u0131\u015fmay\u0131 yaparken Ermeniceyi \u00f6\u011frendim. Bu sayede Ermeni tiyatrosu ad\u0131na \u00f6n\u00fcme \u00e7\u0131kan her \u015feyle ilgilenmeye ve bilgi-belge biriktirmeye ba\u015flad\u0131m. Ermeni tiyatrosu ile ilgilenen bir \u00e7evrem ve dostlar\u0131m olu\u015ftu. Bu \u00e7evre Osmanl\u0131\u2019da tiyatronun Ermeniler taraf\u0131ndan ba\u015flat\u0131ld\u0131\u011f\u0131n\u0131 savunarak, bu ger\u00e7e\u011fi g\u00f6r\u00fcnmez k\u0131lmaya \u00e7al\u0131\u015fan resmi tarih anlay\u0131\u015f\u0131na kar\u015f\u0131 bir m\u00fccadele y\u00fcr\u00fct\u00fcyorlard\u0131. Bu m\u00fccadelede \u00f6ne \u00e7\u0131kan isim G\u00fcll\u00fc Agop veya nam\u0131 di\u011fer Hagop Vartovyan\u2019d\u0131. G\u00fcll\u00fc Agop, T\u00fcrk tiyatro tarih\u00e7ileri ve akademisyenleri taraf\u0131ndan da zaten T\u00fcrk tiyatrosunun kurucu ismi olarak kabul g\u00f6r\u00fcyordu. Yakla\u015f\u0131k on y\u0131ll\u0131k bir tiyatro d\u00f6neminin ba\u015f\u0131n\u0131 \u00e7eken G\u00fcll\u00fc Agop\u2019un ayr\u0131lmas\u0131ndan sonra Ermeni tiyatrosu yine yoluna devam etmi\u015fti. Ancak bu yolda devam edenlerin bir ba\u015f\u0131, bir lideri yok gibiydi. Halbuki ben hangi ta\u015f\u0131 kald\u0131rsam alt\u0131ndan Mardiros M\u0131nakyan \u00e7\u0131k\u0131yordu. Ermenice ve T\u00fcrk\u00e7e kaynaklarda, Mardiros M\u0131nakyan \u00fczerine \u00e7ok fazla bilgi mevcuttu. Her zaman oldu\u011fu gibi, bir eksik bulunuyor ve M\u0131nakyan\u2019\u0131n hakk\u0131 teslim edilmiyordu. Ermeniler, M\u0131nakyan\u2019\u0131n T\u00fcrk\u00e7e oyun oynamas\u0131n\u0131, Ermenice oyunlar\u0131 ihmal etmesini \u00f6ne \u00e7\u0131kar\u0131yorlard\u0131. T\u00fcrkler, M\u0131nakyan Kumpanyas\u0131\u2019ndaki oyuncular\u0131n Ermeni olmas\u0131n\u0131 ve T\u00fcrk\u00e7e telaffuzu bozuk kulland\u0131klar\u0131n\u0131 ileri s\u00fcrerek \u2018kulp\u2019 tak\u0131yorlard\u0131. Halbuki M\u0131nakyan, Sultan Abd\u00fclhamid\u2019in otuz \u00fc\u00e7 y\u0131l devam eden, bask\u0131 ve sans\u00fcr\u00fcn y\u00f6netimin esas niteli\u011fi oldu\u011fu uzun saltanat y\u0131llar\u0131nda, her zaman fikirlerin s\u00f6zl\u00fc olarak sahnede payla\u015f\u0131ld\u0131\u011f\u0131, o nedenle \u00f6zg\u00fcr ortamda yap\u0131lmas\u0131 gereken tiyatroyu ayakta tutabilmi\u015fti. M\u0131nakyan\u2019\u0131n kumpanyas\u0131 ile Abd\u00fclhamid\u2019in iktidar\u0131 hemen hemen ayn\u0131 y\u0131llarda yol alm\u0131\u015ft\u0131. M\u0131nakyan ile Abd\u00fclhamid, elbette birbirlerini \u00e7ok iyi biliyor ve tan\u0131yorlard\u0131. Ama M\u0131nakyan, her vesile ile istibdat y\u00f6netimini s\u00fcrd\u00fcren Abd\u00fclhamid ile kar\u015f\u0131 kar\u015f\u0131ya gelmeden veya gelmekte olan\u0131 g\u00f6r\u00fcp gerekli \u00f6nlemleri alarak tiyatro gemisini y\u00fcr\u00fctm\u00fc\u015ft\u00fc. Sonunda Abd\u00fclhamid gitti, ama M\u0131nakyan kald\u0131. M\u0131nakyan olmasayd\u0131, bat\u0131 tarz\u0131 tiyatro ya\u015fam\u0131 olmadan ge\u00e7ecek Abd\u00fclhamid y\u0131llar\u0131ndan sonra, II. Me\u015frutiyet ilan edildi\u011finde Osmanl\u0131 toplumunda tiyatroyu bilen hi\u00e7 kimse olmayacakt\u0131. Bunun da Osmanl\u0131 ve T\u00fcrkiye tiyatrosu i\u00e7in nas\u0131l olumsuz bir durum olaca\u011f\u0131n\u0131 tahmin etmek zor de\u011fildir. M\u0131nakyan\u2019\u0131n hakk\u0131n\u0131 teslim etmek gerekiyordu. G\u00fcll\u00fc Agop\u2019tan sonra ortada kalan bo\u015flu\u011fu doldurarak M\u0131nakyan\u2019\u0131 Ermeni ve T\u00fcrk toplumundaki yerine yerle\u015ftirmek gerekiyordu.<\/p>\n

\u2018OSMANLI\u2019NIN T\u0130YATRO TAR\u0130H\u0130 MINAKYAN\u2019IN SAHNE \u00c7ALI\u015eMALARININ TAR\u0130H\u0130YLE E\u015eDE\u011eERD\u0130R\u2019<\/h1>\n

Di\u011fer \u00e7al\u0131\u015fmalar\u0131n\u0131zda da 19. y\u00fczy\u0131l\u0131n sonlar\u0131ndan ba\u015flayan ve Cumhuriyet\u2019in ilk k\u0131rk y\u0131l\u0131na kadar s\u00fcren \u0130stanbul\u2019daki tiyatro kumpanyalar\u0131ndan s\u00f6z ediyorsunuz. \u00a0B\u00fct\u00fcn bunlar\u0131n i\u00e7inde M\u0131nakyan Kumpanyas\u0131\u2019n\u0131 di\u011ferlerinden ay\u0131ran \u00f6zellikler nelerdi?<\/strong><\/p>\n

M\u0131nakyan 1837\u2019de do\u011fdu, 1920\u2019de \u00f6ld\u00fc. B\u00f6ylece seksen \u00fc\u00e7 y\u0131l ya\u015fad\u0131. 1854\u2019te okulda \u00f6\u011frenci iken on yedi ya\u015f\u0131nda sahneye \u00e7\u0131kt\u0131. Altm\u0131\u015f be\u015f y\u0131ll\u0131k sahne faaliyetiyle 1919\u2019a kadar sahnede kald\u0131. M\u0131nakyan\u2019\u0131n profesyonel sanatsal hayat\u0131, 1850\u2019li y\u0131llar\u0131n sonlar\u0131nda ba\u015flad\u0131 ve yirminci y\u00fczy\u0131l\u0131n ikinci on y\u0131l\u0131n\u0131n sonunda, \u0130stanbul\u2019da o d\u00f6nemin tiyatrosundan art\u0131k sadece an\u0131lar kald\u0131\u011f\u0131nda bitti. Hi\u00e7bir Ermeni akt\u00f6r\u00fcn sanat ya\u015fam\u0131 i\u00e7in bu kadar geni\u015f bir zaman aral\u0131\u011f\u0131 olmam\u0131\u015ft\u0131r. Bu Osmanl\u0131 profesyonel tiyatrosunun hikayesini ve onunla ili\u015fkili akt\u00f6r ve aktrislerin neslini kapsayan bir zaman aral\u0131\u011f\u0131d\u0131r. Osmanl\u0131 tiyatrosunun do\u011fumundan itibaren bir\u00e7ok arkada\u015f\u0131yla beraber sahnedeydi. Baz\u0131lar\u0131 \u00f6nce sahneden ve sonra da hayattan ayr\u0131ld\u0131. Ba\u015fkalar\u0131 erken vefat etti, di\u011ferleri de yeti\u015fkinken ayr\u0131ld\u0131. Yeni y\u00fczler geldi ve d\u00f6nemlerini bitirerek ebedi yolculu\u011fa \u00e7\u0131kan eskilerini de\u011fi\u015ftirdiler, yeni tiyatro gruplar\u0131 kurdular. M\u0131nakyan Kumpanyas\u0131 veya esas ad\u0131yla Osmanl\u0131 Dram Kumpanyas\u0131 1885\u2019te kuruldu. Bu tarihe kadar M\u0131nakyan tiyatro sahnesinin \u00fcst\u00fcnde hep oldu, ama kendi ad\u0131na de\u011fildi. Akt\u00f6r, rejis\u00f6r, y\u00f6neticiydi. 1885\u2019ten sonra kurdu\u011fu kumpanyan\u0131n her \u015feyi ile sorumluydu. Abd\u00fclhamid\u2019in sans\u00fcr makineleri ile bu tarihten ba\u015flayarak, II. Me\u015frutiyet\u2019in ilan edildi\u011fi 1908\u2019e kadar bizzat M\u0131nakyan kar\u015f\u0131 kar\u015f\u0131yayd\u0131. M\u0131nakyan bu d\u00f6nemde kumpanyas\u0131n\u0131 bir kazaya kurban etmeden ta\u015f\u0131d\u0131. Sadece ta\u015f\u0131mad\u0131, b\u00fct\u00fcn engellemelere ra\u011fmen erke\u011fiyle, kad\u0131n\u0131yla Osmanl\u0131 toplumuna bat\u0131l\u0131 tiyatroyu tan\u0131tt\u0131. 1908\u2019den sonra tiyatronun tozunu biraz yutmu\u015f g\u00f6n\u00fcll\u00fc gen\u00e7 T\u00fcrk oyuncular\u0131n\u0131n neredeyse hepsinin yolu M\u0131nakyan\u2019\u0131n kumpanyas\u0131ndan ge\u00e7ti. \u0130lerleyen y\u0131llarda, tiyatro r\u00fcyalar\u0131 g\u00f6ren Muhsin Ertu\u011frullar, Vasfi R\u0131za Zobular, Ra\u015fit R\u0131zalar, \u0130smail Galip Arcanlar\u0131n hepsi an\u0131lar\u0131nda M\u0131nakyan ile ba\u015flad\u0131klar\u0131n\u0131 anlatt\u0131lar, yazd\u0131lar. M\u0131nakyan 1919\u2019a kadar tiyatro ile beraber olmaya devam etti. \u0130ki kere j\u00fcbilesi yap\u0131ld\u0131, seksenlik zirveye ula\u015ft\u0131 ve ge\u00e7ti. Sonunda tiyatronun bayra\u011f\u0131n\u0131 1920\u2019de Cumhuriyet\u2019in kap\u0131s\u0131n\u0131n \u00f6n\u00fcne dikerek \u201cBenden bu kadar, bundan sonras\u0131 g\u00f6rev sizindir\u201d dedi. Osmanl\u0131 Devleti\u2019nin tiyatro tarihi M\u0131nakyan\u2019\u0131n sahne \u00e7al\u0131\u015fmalar\u0131n\u0131n tarihiyle e\u015fde\u011fer kabul edilebilir.<\/p>\n

M\u0131nakyan\u2019\u0131 Tanzimat, \u0130stibdat ve Me\u015frutiyet d\u00f6nemlerinde inceledi\u011fimizde hangi d\u00f6nemini verimli buluyorsunuz? Bunun nedenleri hakk\u0131nda neler s\u00f6ylenebilir?<\/strong><\/p>\n

Tanzimat d\u00f6nemi, Osmanl\u0131 Ermeni tiyatrosunun en parlak y\u0131llar\u0131n\u0131 ya\u015fad\u0131\u011f\u0131 G\u00fcll\u00fc Agop d\u00f6nemidir. Devlet deste\u011fi ile G\u00fcll\u00fc Agop hem Ermenice hem de T\u00fcrk\u00e7e tiyatro yaparak ba\u015far\u0131l\u0131 ve efsanevi bir d\u00f6nem ya\u015fatt\u0131. Her bak\u0131mdan Avrupa sahneleri ile boy \u00f6l\u00e7\u00fc\u015fecek kalite ve seviyede tiyatro yapt\u0131. G\u00fcll\u00fc Agop\u2019un Osmanl\u0131 Tiyatrosu ad\u0131yla an\u0131lan kumpanyas\u0131na girmeyen Ermeni sanat\u00e7\u0131 kalmad\u0131. Gedikpa\u015fa\u2019daki Osmanl\u0131 Tiyatrosu G\u00fcll\u00fc Agop\/Hagop Vartovyan y\u00f6netiminde oyuncu s\u0131k\u0131nt\u0131s\u0131 olmayan bir kumpanya olarak on y\u0131l keyifli bir d\u00f6nem ge\u00e7irdi. Bu oyuncular aras\u0131nda akt\u00f6r ve rejis\u00f6r olarak Mardiros M\u0131nakyan da vard\u0131. 1878\u2019den sonra, \u00fclkenin i\u00e7ine girdi\u011fi ekonomik ve y\u00f6netimsel kriz ile birlikte G\u00fcll\u00fc Agop\u2019un kumpanyas\u0131 da sars\u0131lmaya ve da\u011f\u0131n\u0131kl\u0131k ya\u015famaya ba\u015flad\u0131. Bu s\u0131rada Abd\u00fclhamid padi\u015fah olmu\u015f ve k\u0131sa bir s\u00fcre sonra uygulamaya ba\u015flad\u0131\u011f\u0131 y\u00f6netim ile \u0130stibdat D\u00f6nemi ba\u015flam\u0131\u015ft\u0131. \u0130\u015fte bu s\u0131rada sahneden \u00e7ekilen G\u00fcll\u00fc Agop, tiyatro kumpanyas\u0131n\u0131 M\u0131nakyan\u2019a devretti. M\u0131nakyan bu sorumlulu\u011fu almaya bir s\u00fcre yana\u015fmasa da, sonunda b\u00fct\u00fcn \u00e7\u0131k\u0131\u015f yollar\u0131 t\u0131kan\u0131nca istibdat y\u0131llar\u0131nda kumpanyan\u0131n y\u00f6netimine ge\u00e7mek zorunda kald\u0131. \u00c7ok zor istibdat ko\u015fullar\u0131nda, ama aksatmadan bat\u0131l\u0131 tiyatro yapan tek kumpanya olarak 1908 II. Me\u015frutiyet kav\u015fa\u011f\u0131na kadar Osmanl\u0131 Dram Kumpanyas\u0131n\u0131 ayakta tuttu, yeni oyuncular yeti\u015ftirdi, tiyatro k\u00fclt\u00fcr\u00fcn\u00fc tan\u0131tarak, gericili\u011fe kar\u015f\u0131 bat\u0131l\u0131 ya\u015fam \u00e7izgisini izleyerek Osmanl\u0131 halk\u0131n\u0131 e\u011fitti. II. Me\u015frutiyet ile gelen izafi \u00f6zg\u00fcrl\u00fck ortam\u0131nda tiyatro i\u00e7in haz\u0131r bulunan T\u00fcrk ve Ermeni g\u00fc\u00e7ler, ayr\u0131 ayr\u0131 veya birlikte M\u0131nakyan kumpanyas\u0131ndan \u00f6\u011frendikleri ile kendilerini sahneye att\u0131lar. Gelece\u011fin T\u00fcrk tiyatrosu bu ortamdan \u00e7\u0131kt\u0131. Yeni Cumhuriyet, bu konuda ne kadar inkarc\u0131 bir yoldan ilerlemi\u015fse de, b\u00fct\u00fcn siyasal \u00e7izgilerinde oldu\u011fu gibi, tiyatrosunu Me\u015frutiyet y\u0131llar\u0131nda at\u0131lan temeller \u00fczerinde in\u015fa etti. Bunun en \u00f6zg\u00fcn \u00f6rne\u011fi 1914\u2019te T\u00fcrk devlet tiyatrosu olarak olu\u015fturulan Dar\u00fclbedayi\u2019dir. Bu tabloda, M\u0131nakyan\u2019\u0131n en verimli oldu\u011fu d\u00f6nem, \u0130stibdat D\u00f6nemi diyebilirim. B\u00fct\u00fcn bir tiyatro ya\u015fam\u0131n\u0131 istibdat u\u00e7urumundan, bir kazaya u\u011fratmadan ge\u00e7irme ustal\u0131\u011f\u0131 ve ba\u015far\u0131s\u0131, Mardiros M\u0131nakyan\u2019a aittir.<\/p>\n

Hask\u00f6y\u2019de yoksulluk i\u00e7inde ge\u00e7en \u00e7ocuklu\u011fundan sonra Mardiros M\u0131nakyan\u2019\u0131n tiyatrocu olarak var olmak i\u00e7in verdi\u011fi m\u00fccadeleyi nas\u0131l tan\u0131mlars\u0131n\u0131z?<\/strong><\/p>\n

19\u2019uncu y\u00fczy\u0131l\u0131n ortas\u0131na gelindi\u011finde, tiyatronun Avrupa\u2019da 250 y\u0131ll\u0131k bir ge\u00e7mi\u015fi vard\u0131. Moliereler, Shakespeareler, Fransa, \u0130ngiltere, \u0130talya ve di\u011fer Avrupa \u00fclkelerinde \u00f6nemli bir yol kat etmi\u015flerdi. Sahnenin cazibesi, geni\u015f kitlelerin alk\u0131\u015flar\u0131, seyircinin ra\u011fbet etmesi, zaman zaman g\u00fczel gelir getiren bir meslek olmas\u0131, bu sanat\u0131n Osmanl\u0131\u2019da da h\u0131zl\u0131 bir geli\u015fme g\u00f6stermesine vesile olmu\u015ftu. Bat\u0131l\u0131 k\u00fclt\u00fcr kapitalizm ile birlikte Osmanl\u0131\u2019n\u0131n b\u00fcy\u00fck kentlerinde yay\u0131ld\u0131k\u00e7a, \u00f6ncelikle e\u011fitimli kesimde, ama e\u011fitimden yoksun olmas\u0131na ra\u011fmen do\u011fal yetenek sahibi olan gen\u00e7ler i\u00e7in yeni bir d\u00fcnyayd\u0131 tiyatro. Yazar\u0131yla, oyuncusuyla, y\u00f6neticisiyle, buradan para kazanmay\u0131 hedefleyen giri\u015fimcisiyle tiyatro, bat\u0131da kendini ispatlam\u0131\u015ft\u0131. Tanzimat reformlar\u0131 ile Osmanl\u0131 topraklar\u0131nda tiyatro yapman\u0131n \u00f6n\u00fcndeki engeller k\u0131smen kald\u0131r\u0131l\u0131nca, \u00f6zellikle gayrim\u00fcslimlerin okullar\u0131nda ve evlerinde tiyatro g\u00f6n\u00fcll\u00fcs\u00fc bol bir e\u011flence ve e\u011fitim arac\u0131 oldu. Yoksul, ama ba\u015far\u0131l\u0131 bir \u00f6\u011frencilikten sonra \u00f6\u011fretmen olan gen\u00e7 M\u0131nakyan, sahne ile okul tiyatrosunda tan\u0131\u015f\u0131yor. Matematik \u00f6\u011fretmeni Mardiros M\u0131nakyan, a\u015f\u0131k oldu\u011fu tiyatronun \u00f6\u011fretmeni, oyuncusu ve y\u00f6neticisi olarak, ya\u015fam\u0131n\u0131n son g\u00fcn\u00fcne kadar sahnede kalmaya devam ediyor.<\/p>\n

\u2018MINAKYAN, KADIK\u00d6Y\u2019\u00dcN SANAT\u00c7ISI\u2019<\/h2>\n

M\u0131nakyan Efendi, \u00e7ok de\u011ferli isimlerle \u00e7al\u0131\u015f\u0131yor. Kumpanyas\u0131 adeta bir okul oluyor. Dostluklar, arkada\u015fl\u0131klar kurulmas\u0131na ves\u00eele oluyor. Peki d\u00f6nemin tiyatrocular\u0131 aras\u0131nda belirgin bir rekabet var m\u0131yd\u0131?<\/strong><\/p>\n

M\u0131nakyan\u2019\u0131n Osmanl\u0131 Dram Kumpanyas\u0131 1885\u2019te kurulmu\u015ftu. \u00d6ncesinde Ermeni tiyatrosunun efsanevi lideri G\u00fcll\u00fc Agop, 1880\u2019e geldi\u011finde, kumpanyas\u0131n\u0131n mabedi olan Gedikpa\u015fa Tiyatrosu\u2019nu terk etmek zorunda kalm\u0131\u015ft\u0131. \u015eehzadeba\u015f\u0131 Direkleraras\u0131\u2019na ge\u00e7en G\u00fcll\u00fc Agop\u2019un grubu adeta ba\u015fs\u0131z kalm\u0131\u015ft\u0131. Zaman zaman grubun y\u00f6netimini Mardiros M\u0131nakyan, Tovmas Fasulyac\u0131yan ve Dikran Tosbatyan \u00fcstleniyordu. Baz\u0131 oyuncular\u0131n ayr\u0131 gruplar olu\u015fturmas\u0131 da ortaya \u00e7\u0131kan bu da\u011f\u0131n\u0131kl\u0131\u011f\u0131n sonucuydu. Be\u015f y\u0131l s\u00fcren bu belirsizlik, sonunda M\u0131nakyan\u2019\u0131n kendi ad\u0131yla Osmanl\u0131 Dram Kumpanyas\u0131\u2019n\u0131 kurmas\u0131yla sonu\u00e7land\u0131. Az say\u0131da G\u00fcll\u00fc Agop\u2019tan kalan oyuncular\u0131n yan\u0131nda, sahneye yeni \u00e7\u0131kan oyuncularla yola devam eden M\u0131nakyan, y\u0131llar s\u00fcren sahne faaliyetleri sonunda \u00e7ok ba\u015far\u0131l\u0131 yeni oyuncular yeti\u015ftirdi. Hen\u00fcz tiyatro e\u011fitimi veren kurumlar\u0131n olmad\u0131\u011f\u0131 bu y\u0131llarda, tiyatroya g\u00f6n\u00fcll\u00fc olan birinin, sahneyi \u00f6\u011frenmesi, iyi bir akt\u00f6r olabilmesi i\u00e7in bir kumpanyaya girmesi ve usta \u00e7\u0131rak ili\u015fkisiyle yeti\u015fmesi gerekiyordu. Bu anlamda, M\u0131nakyan\u2019\u0131n kumpanyas\u0131 en \u00f6nde duran bir tiyatro okulu g\u00f6revi g\u00f6r\u00fcyordu. Gen\u00e7 T\u00fcrk sanat\u00e7\u0131lar\u0131 da bu yoldan ge\u00e7iyorlard\u0131. Kumpanyan\u0131n i\u015fleri iyi oldu\u011funda g\u00fc\u00e7l\u00fc bir konuma sahip olan y\u00f6neticinin, seyircinin azald\u0131\u011f\u0131 ve gelirin yetersiz kald\u0131\u011f\u0131 durumda konumunun zay\u0131flamas\u0131 ve bir k\u0131s\u0131m oyuncunun ayr\u0131 grup kurarak rekabet etmeyi denemesi ola\u011fan durumlardand\u0131. Ama, bir s\u00fcre sonra ayr\u0131 grup kuranlar\u0131n yeniden M\u0131nakyan\u2019\u0131n \u015femsiyesi alt\u0131nda toplanmalar\u0131 da s\u0131kl\u0131kla olurdu. Kumpanyada y\u00f6netim g\u00fc\u00e7l\u00fc bir \u015fekilde M\u0131nakyan\u2019\u0131n elindeydi ve usta y\u00f6netmen akt\u00f6r ve aktrisleri \u00e7ok ba\u015far\u0131l\u0131 bir \u015fekilde y\u00f6nlendirirdi.<\/p>\n

\u00c7al\u0131\u015fmalar\u0131n\u0131zda \u0130stanbul\u2019un farkl\u0131 semtlerinde pek \u00e7ok tiyatro salonunu an\u0131yorsunuz. M\u0131nakyan Kumpanyas\u0131 ise Kad\u0131k\u00f6yl\u00fclerin an\u0131lar\u0131nda \u00f6nemli bir yere sahip. Onun i\u00e7in \u2018Kad\u0131k\u00f6y\u2019\u00fcn sanat\u00e7\u0131s\u0131\u2019 diyebilir miyiz?<\/strong><\/p>\n

Kad\u0131k\u00f6y ve M\u0131nakyan, birbirine \u00e7ok yak\u0131n iki isim. M\u0131nakyan, Kad\u0131k\u00f6y\u2019de m\u00fctevaz\u0131 evinde kar\u0131s\u0131 ve iki \u00e7ocu\u011fu ile beraber ya\u015fad\u0131. Sadece kendisi de\u011fil, kumpanyas\u0131ndaki akt\u00f6r ve aktrislerin neredeyse tamam\u0131 da Kad\u0131k\u00f6y\u2019de oturuyorlard\u0131. G\u00f6sterilerini Pera, \u015eehzadeba\u015f\u0131 Direkleraras\u0131, \u00dcsk\u00fcdar ve Kad\u0131k\u00f6y ba\u015fta olmak \u00fczere \u0130stanbul\u2019un her taraf\u0131nda seyirciye sunarlard\u0131. Yaz aylar\u0131nda g\u00f6steriler \u00f6zellikle Kad\u0131k\u00f6y ve \u00dcsk\u00fcdar sahnelerinde ger\u00e7ekle\u015firdi. Kad\u0131k\u00f6y\u2019de bug\u00fcnk\u00fc ad\u0131yla Halita\u011fa Caddesi\u2019nde Zambo\u011flu isimli bir Rum i\u015f adam\u0131n\u0131n k\u00f6\u015fk\u00fcn\u00fcn bah\u00e7esi bir a\u00e7\u0131khava g\u00f6steri sahnesi olarak d\u00fczenlenmi\u015fti. Her t\u00fcrl\u00fc g\u00f6steri ve e\u011flencelerin yan\u0131nda Zambo\u011flu Tiyatro Bah\u00e7esi olarak isim yapan bu mekan M\u0131nakyan Kumpanyas\u0131\u2019n\u0131n adeta mabediydi. Kumpanyan\u0131n \u00f6nde gelen aktrisi Knar S\u0131vac\u0131yan Han\u0131m da Kad\u0131k\u00f6y\u2019de oturuyordu ve an\u0131lar\u0131nda bu semtin kumpanya i\u00e7in ne kadar \u00f6nemli oldu\u011funu anlat\u0131yor:<\/p>\n

\u201cTiyatroya hep beraber gider, hep beraber evlerimize d\u00f6nerdik. B\u00fct\u00fcn hayat\u0131m\u0131z\u0131- sanki bir ailedenmi\u015fiz gibi- hep birlikte ve tiyatroya g\u00f6re ayar etmi\u015ftik. Mesela hepimiz bir mahallede otururduk. Gece ayn\u0131 soka\u011fa gelir, birbirinden uzak olmayan evlere da\u011f\u0131l\u0131rd\u0131k. Faraza, Kad\u0131k\u00f6y\u2019\u00fcnde Bahariye caddesinde evvela Binemeciyan\u2019\u0131n evi vard\u0131. Onun yan\u0131nda M\u0131nakyan otururdu. Kar\u015f\u0131s\u0131nda, biraz ileride \u00c7obanyan, yan\u0131nda Holas, daha \u00f6tede \u015eahinyan\u00a0ve ben! Diyorum ya, adeta bir aile gibiydik\u2026\u201d<\/p>\n

G\u00fcn\u00fcm\u00fczde Fenerbah\u00e7e\u00a0futbol tak\u0131m\u0131 i\u00e7in Kad\u0131k\u00f6y\u2019\u00fcn kul\u00fcb\u00fc kabul\u00fc yap\u0131lm\u0131\u015fsa, M\u0131nakyan Kumpanyas\u0131 i\u00e7in de Kad\u0131k\u00f6y\u2019\u00fcn yahut Kad\u0131k\u00f6yl\u00fclerin tiyatro toplulu\u011fu, M\u0131nakyan i\u00e7in de \u2018Kad\u0131k\u00f6y\u2019\u00fcn sanat\u00e7\u0131s\u0131\u2019 denilmesi yanl\u0131\u015f olmayacakt\u0131r.<\/p>\n

Yervant Tolayan\u2019a g\u00f6re, M\u0131nakyan Kumpanyas\u0131 kad\u0131nlar i\u00e7in adeta bir okul oluyor. Sahnelenen oyunlardaki kad\u0131n erkek e\u015fitli\u011fine dair vurgular, toplumda b\u00fcy\u00fck heyecan yarat\u0131yor. Bu konuda neler s\u00f6yleyebiliriz?<\/strong><\/p>\n

Tiyatro y\u00fcz sene \u00f6nce de bir okuldu, bug\u00fcn de hala bir okul, bir e\u011fitim kurumudur. Bir piyesin oynand\u0131\u011f\u0131 k\u0131sa s\u00fcre i\u00e7inde, salonda oyunu izleyen kalabal\u0131k bir seyirci kitlesine, keyifli bir ortamda e\u011fitici mesajlar verilmesi her zaman i\u00e7in ge\u00e7erlidir. Tabii bunun aksi de ge\u00e7erlidir, yani e\u011fitici olmayan mesajlar verilmesi de m\u00fcmk\u00fcnd\u00fcr. M\u0131nakyan\u2019\u0131n tiyatro toplulu\u011fu, baz\u0131 form\u00fcllerle Osmanl\u0131 toplumunda ge\u00e7erli olan kad\u0131nlara yasaklar\u0131 delmeyi becermi\u015f, ama kafes arkas\u0131ndan oyun seyrettirmi\u015f, ama erkeklerin olmad\u0131\u011f\u0131 kad\u0131nlara \u00f6zel tiyatro matineleri d\u00fczenleyerek oyun seyrettirmi\u015f. B\u00f6ylece Avrupal\u0131 yazarlar\u0131n yazd\u0131\u011f\u0131 ve M\u0131nakyan\u2019\u0131n T\u00fcrk\u00e7eye, Ermeniceye terc\u00fcme ederek sahneye koydu\u011fu oyunlar\u0131 kad\u0131nlara izleterek, bat\u0131daki aile ya\u015fam\u0131, kad\u0131n erkek ili\u015fkileri, sosyal ya\u015fam hakk\u0131nda bilgilenmelerini ve d\u00fc\u015f\u00fcnsel olarak d\u00f6n\u00fc\u015fmelerini sa\u011flam\u0131\u015ft\u0131r. Matinelere gelip Avrupai melodramlar\u0131 izleyen T\u00fcrk kad\u0131n\u0131, Avrupa \u00fclkelerinde kad\u0131n\u0131n sadece evde olmad\u0131\u011f\u0131n\u0131n, \u00f6ncelikleri, inan\u00e7lar\u0131, sevgili hukuku oldu\u011funun, kad\u0131n\u0131n ailede sesi oldu\u011funun fark\u0131na vararak temsilden sonra evine d\u00f6nmekteydi. Pek \u00e7ok kad\u0131n b\u00fct\u00fcn bu g\u00f6r\u00fcnt\u00fclerden sonra, M\u0131nakyan\u2019\u0131n temsillerinden kendi evliliklerini yeniden \u00f6\u011frenmeyi d\u00fc\u015f\u00fcnmeye ba\u015flam\u0131\u015ft\u0131. Osmanl\u0131 Dram Tiyatrosu\u2019nun topluma en \u00f6nemli katk\u0131lar\u0131n\u0131n ba\u015f\u0131nda, kad\u0131nlar\u0131n kocalar\u0131na, kendilerine nas\u0131l davran\u0131lmas\u0131 gerekti\u011fini \u00f6\u011frenmeleri i\u00e7in M\u0131nakyan\u2019\u0131n tiyatrosuna gitmelerini tavsiye etmeleri olsa gerek. M\u0131nakyan\u2019\u0131n oyunlar\u0131nda kad\u0131n e\u015fitli\u011fi, kad\u0131n ger\u00e7ekleri, kad\u0131n\u0131n kurtulu\u015fu sorunlar\u0131 sahneye geldik\u00e7e, onlar da ilk kez heyecan duyuyorlard\u0131.<\/p>\n

\u2018DAR\u00dcLBEDAY\u0130 Y\u00d6NET\u0130M\u0130, B\u00dcY\u00dcK USTAYA TAHAMM\u00dcL EDEMED\u0130\u2019<\/h3>\n

G\u00fcn\u00fcm\u00fczde hem \u0130stanbul Ermeni toplumunun hem de b\u00fcy\u00fck toplumun M\u0131nakyan Kumpanyas\u0131\u2019na dair bilgisini nas\u0131l de\u011ferlendiriyorsunuz? Yeterli mi sizce?<\/strong><\/p>\n

Yeterli olmad\u0131\u011f\u0131 kesin. M\u0131nakyan\u2019\u0131n tiyatro sahnesindeki t\u00fcm faaliyetleri Osmanl\u0131 tiyatrosunun kurulu\u015f ve geli\u015fme d\u00f6nemi ve T\u00fcrkiye tiyatrosunun haz\u0131rl\u0131k d\u00f6nemi olarak d\u00fc\u015f\u00fcn\u00fclmelidir. \u00c7al\u0131\u015fmalar\u0131n\u0131n ahlaki \u00f6nemi \u00e7ok de\u011ferliydi. M\u0131nakyan\u2019\u0131n eme\u011fiyle, yorulmak bilmeyen \u00e7al\u0131\u015fmas\u0131 ve demirden iradesiyle, T\u00fcrk seyircisi tiyatroya ve \u00e7al\u0131\u015fanlar\u0131na sayg\u0131 duymu\u015f, edebi tiyatro fikrini geli\u015ftirmi\u015f, gelecekteki profesyonel T\u00fcrk tiyatrosu i\u00e7in ahlaki zemin ve atmosfer haz\u0131rlanm\u0131\u015ft\u0131r. Bu Osmanl\u0131\u2019n\u0131n son d\u00f6neminde, Abd\u00fclhamid istibdad\u0131n\u0131n zulm\u00fc alt\u0131nda, b\u00f6yle kasvetli bir zamanda yap\u0131lm\u0131\u015ft\u0131r. Otuz y\u0131l boyunca istibdada kar\u015f\u0131 tiyatroyu savunan M\u0131nakyan ve Ermeni tiyatro sanat\u00e7\u0131lar\u0131 olmu\u015ftu. Bu tiyatro toplulu\u011fu 1885-1915 d\u00f6neminde, T\u00fcrk tiyatrosuna yoktan bir sahne yaratm\u0131\u015f ve g\u00fc\u00e7lerini haz\u0131rlam\u0131\u015f, ayn\u0131 d\u00f6nemde Ermeni sahnesine hizmet etmi\u015f ve faaliyet g\u00f6stermi\u015fti. M\u0131nakyan, Osmanl\u0131 vatanda\u015f\u0131 olarak ya\u015fad\u0131. Di\u011fer Osmanl\u0131 vatanda\u015flar\u0131yla ayn\u0131 \u015fartlarda d\u00fczenin b\u00fct\u00fcn sorunlar\u0131yla kar\u015f\u0131la\u015ft\u0131. Bir Ermeni olmas\u0131 nedeniyle, sorunlar\u0131n ortaya \u00e7\u0131kt\u0131\u011f\u0131 ve y\u00fckseldi\u011fi d\u00f6nemlerde ilave ma\u011fduriyetlerin muhatab\u0131 oldu. Yine de y\u0131lmad\u0131. Bir g\u00fcn bile \u00fclkeyi terk etmeyi akl\u0131na getirmedi. Hi\u00e7bir siyasi muhalefetin i\u00e7inde yer almad\u0131. Devletiyle bar\u0131\u015f\u0131k olmay\u0131 esas ald\u0131. Ya\u015fam\u0131n\u0131n son y\u0131llar\u0131nda M\u0131nakyan, 1915 y\u0131l\u0131nda Osmanl\u0131 vatanda\u015f\u0131 Ermenilerin ya\u015fad\u0131\u011f\u0131 b\u00fcy\u00fck trajediye tan\u0131k ve muhatap oldu. Toplumun en b\u00fcy\u00fck tiyatro adam\u0131 olarak, 1914 y\u0131l\u0131nda tiyatro \u00f6\u011fretmeni olarak kabul edildi\u011fi Dar\u00fclbedayi\u2019den, yedi ay sonra, 1915 y\u0131l\u0131n\u0131n A\u011fustos ay\u0131nda g\u00f6revine son verildi. \u0130stanbul\u2019da 24 Nisan 1915\u2019te Ermeni ayd\u0131nlar\u0131\u00a0tutuklay\u0131p, \u00c7ank\u0131r\u0131 ve Aya\u015f\u2019a g\u00f6nderen \u0130ttihat\u00e7\u0131 emniyet b\u00fcrokrasisinin y\u00f6netimindeki \u015eehremaneti\u2019ye ba\u011fl\u0131 Dar\u00fclbedayi y\u00f6netimi, yetmi\u015f sekiz ya\u015f\u0131ndaki b\u00fcy\u00fck ustaya tahamm\u00fcl edememi\u015fti. Bu topraklar\u0131n insan\u0131 olarak, etnik kimli\u011fi farkl\u0131 olmas\u0131 nedeniyle, M\u0131nakyan hak etmedi\u011fi bu muameleye ra\u011fmen, yine de ya\u015fam\u0131n\u0131n sonuna kadar tiyatro sahnesi i\u00e7in bir \u015feyler yapmaktan geri durmad\u0131.<\/p>\n

Osmanl\u0131 Ermeni tiyatro tarihinde M\u0131nakyan Kumpanyas\u0131 bir mihenk ta\u015f\u0131. O olmasayd\u0131 Osmanl\u0131 ve Cumhuriyet tiyatro tarihi nas\u0131l yaz\u0131l\u0131rd\u0131? Sonras\u0131na dair neler s\u00f6ylenebilir?<\/strong><\/p>\n

Muhsin Ertu\u011frul\u2019u g\u00f6z \u00f6n\u00fcne alal\u0131m. Muhsin Ertu\u011frul, \u00f6\u011frencilik y\u0131llar\u0131nda, babas\u0131yla birlikte gitti\u011fi Kad\u0131k\u00f6y\u2019deki Zambo\u011flu\u00a0Bah\u00e7esi\u2019ndeki M\u0131nakyan Tiyatrosu\u2019nda seyretti\u011fi Dalila piyesinin etkisiyle tiyatrocu olmaya karar verdi\u011fini, izledi\u011fi M\u0131nakyan oyunlar\u0131n\u0131 arkada\u015flar\u0131na anlatarak onlar\u0131 da etkiledi\u011fini ve aralar\u0131nda sahne kurup oynamaya ba\u015flad\u0131klar\u0131n\u0131, yine babas\u0131 sayesinde Osmanl\u0131 Dram Kumpanyas\u0131\u2019n\u0131n yaz k\u0131\u015f gittikleri tiyatrolarda oynanan her yeni yap\u0131t\u0131n\u0131 izlemeyi aral\u0131ks\u0131z s\u00fcrd\u00fcrmeyi ba\u015fard\u0131\u011f\u0131n\u0131, \u00e7ok erken ya\u015flardan ba\u015flayarak, tiyatroya, \u00f6zellikle Osmanl\u0131 Dram Kumpanyas\u0131 gibi o d\u00f6nemin modern yap\u0131tlar\u0131n\u0131 oynayan kurulu\u015flara onu ilk g\u00f6t\u00fcrenin babas\u0131 oldu\u011funu anlat\u0131yor. 1910 y\u0131l\u0131nda ilk defa sahneye \u00e7\u0131kan gen\u00e7 Muhsin\u2019in \u015fans\u0131na tiyatrodaki dinlenme odas\u0131ndaki arkada\u015f\u0131 \u00fcnl\u00fc tiyatro insan\u0131 gen\u00e7 Vahram Papazyan\u2019d\u0131. Hen\u00fcz stajyer akt\u00f6r seviyesindeki Muhsin\u2019e, bu sanat\u0131 en iyi \u015fekilde \u00f6\u011frenmek ve yapmak istiyorsa, mutlaka bat\u0131ya gitmesini ve oradaki tiyatrolarda g\u00f6rev \u00fcstlenmesini \u0131srarla tavsiye eden oda arkada\u015f\u0131 Vahram olmu\u015ftu. Bu tavsiyeleri dinleyen Muhsin bir y\u0131l sonra Paris\u2019in yolunu tutacakt\u0131. 1926 y\u0131l\u0131na kadar Muhsin, Paris, Berlin, Stockholm, Moskova ve Amerika\u2019ya giderek kendini yeti\u015ftirdi ve Muhsin Ertu\u011frul oldu. Buradan, M\u0131nakyan ve Ermeni tiyatrocular olmasayd\u0131 Muhsin Ertu\u011frul olabilecek miydi sorusunu sormakta hakl\u0131s\u0131n\u0131z. Bu soruyu Ahmet Fehim i\u00e7in de sorabiliriz. Otuz y\u0131l bat\u0131 tarz\u0131 tiyatronun olmad\u0131\u011f\u0131 bir d\u00f6nemden sonra ilan edilen II. Me\u015frutiyet ortam\u0131nda, tiyatro altyap\u0131s\u0131 ve k\u00fclt\u00fcr\u00fc olmayan bir tarih yaz\u0131labilirdi. Nitekim, bask\u0131 ve sans\u00fcr\u00fcn hakim oldu\u011fu bu y\u0131llarda, T\u00fcrk ve Ermeni tiyatro yazarlar\u0131n\u0131n hi\u00e7bir piyes \u00fcretememi\u015f olmalar\u0131 nedeniyle, Anayasa\u2019n\u0131n ilan\u0131ndan sonra tiyatro yapmak \u00fczere sahneye \u00e7\u0131kanlar, otuz y\u0131l \u00f6ncesinde yaz\u0131lm\u0131\u015f veya yabanc\u0131 dillerden terc\u00fcme edilmi\u015f eserlere ba\u015fvurmak zorunda kalm\u0131\u015flard\u0131. Evet, yeni oyunlar yaz\u0131lamad\u0131, ama M\u0131nakyan sayesinde, Osmanl\u0131 toplumu tiyatro sahnesi ile ba\u011f\u0131n\u0131 koparmam\u0131\u015f oldu, tiyatro oyunculu\u011fu varl\u0131\u011f\u0131n\u0131 devam ettirmi\u015f ve T\u00fcrk gen\u00e7leri de en k\u0131sa yoldan sahneye \u00e7\u0131kma imkan\u0131na sahip oldu.<\/p>\n

A\u015fod Madatyan kitab\u0131n\u0131z\u0131n \u201cSunu\u015f\u201d b\u00f6l\u00fcm\u00fcnde Osmanl\u0131 ve T\u00fcrkiye Tiyatrosu tarihi \u00fczerine be\u015f kitapl\u0131k bir \u00e7al\u0131\u015fmadan s\u00f6z ediyorsunuz. S\u0131rada neler var?<\/strong><\/p>\n

\u201cTiyatronun Ba\u015flang\u0131c\u0131 \u015eark Tiyatrosu\u201d olarak ad\u0131n\u0131 koydu\u011fum \u00e7al\u0131\u015fmay\u0131 s\u00fcrd\u00fcr\u00fcyorum. Osmanl\u0131\u2019da tiyatro Ermenilerle ba\u015flad\u0131 ama 1868\u2019de tiyatrosunun kap\u0131lar\u0131n\u0131 a\u00e7an G\u00fcll\u00fc Agop ile ba\u015flad\u0131, diye genel bir kabul var. Burada ele al\u0131nan temel k\u0131stas, T\u00fcrk\u00e7e tiyatronun ba\u015flam\u0131\u015f olmas\u0131. Halbuki Ermeni tiyatrocular bu tarihten en az on y\u0131l \u00f6nce, \u0130stanbul\u2019da tiyatro kumpanyalar\u0131n\u0131 kurmu\u015f, profesyonel anlamda Ermenice ve T\u00fcrk\u00e7e performanslar sergilemeye ba\u015flam\u0131\u015flard\u0131. Bu do\u011frunun tiyatro tarihi sayfalar\u0131na hak etti\u011fi \u015fekliyle ge\u00e7mesi gerekti\u011fini d\u00fc\u015f\u00fcn\u00fcyorum. Tiyatro tarihimizde kad\u0131n konusunu a\u00e7man\u0131z ger\u00e7ekten hakl\u0131 bir talep ve \u00f6neri. Bu d\u00fc\u015f\u00fcncenize kat\u0131l\u0131yorum. Son y\u0131llarda tiyatro tarihi \u00fczerine ilginin artmakta oldu\u011funu, yeni \u00e7al\u0131\u015fmalar\u0131n ortaya \u00e7\u0131kmakta oldu\u011funu g\u00f6r\u00fcyorum. Yurt d\u0131\u015f\u0131nda akademide Osmanl\u0131\u2019da tiyatro ve kad\u0131n \u00fczerine yeni \u00e7al\u0131\u015fmalar\u0131n yap\u0131ld\u0131\u011f\u0131n\u0131 izliyorum. Bu r\u00fczgar\u0131n yurt i\u00e7inde de kar\u015f\u0131l\u0131\u011f\u0131 var. Sizin de daha \u00f6nce \u00f6nerdi\u011finiz gibi, tiyatro tarihimizde kad\u0131nlar\u0131 ele alan bir \u00e7al\u0131\u015fma, neden olmas\u0131n.<\/p>\n

\n

https:\/\/www.gazeteduvar.com.tr\/tanzimat-istibdat-ve-mesrutiyet-minakyan-kumpanyasi-makale-1634910<\/a>\u00a0<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Mardiros M\u0131nakyan istibdat ko\u015fullar\u0131nda, bat\u0131l\u0131 tiyatro yapan tek kumpanya olarak 1908 II. Me\u015frutiyet kav\u015fa\u011f\u0131na kadar Osmanl\u0131 Dram Kumpanyas\u0131\u2019n\u0131 ayakta tuttu, yeni oyuncular yeti\u015ftirdi, tiyatro k\u00fclt\u00fcr\u00fcn\u00fc tan\u0131tarak, gericili\u011fe kar\u015f\u0131 bat\u0131l\u0131 ya\u015fam \u00e7izgisini izleyerek Osmanl\u0131 halk\u0131n\u0131 e\u011fitti. Berken D\u00f6ner Nesim Ovadya \u0130zrail\u2019in\u00a0Osmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar\u00a0kitab\u0131 ile ba\u015flayan tiyatro tarihi ara\u015ft\u0131rmalar\u0131,\u00a0Tanzimat, \u0130stibdat ve Me\u015frutiyet Tiyatrosu\u2019nda Mardiros M\u0131nakyan […]<\/p>\n","protected":false},"author":7,"featured_media":75734,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,54,71,20,19],"tags":[],"class_list":["post-75732","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-kitaplar-elestiriler","category-mulakatlar","category-tarih-sayfalari","category-unluler"],"yoast_head":"\nTanzimat, \u0130stibdat ve Me\u015frutiyet: M\u0131nakyan Kumpanyas\u0131 - 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=75732\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tanzimat, \u0130stibdat ve Me\u015frutiyet: M\u0131nakyan Kumpanyas\u0131 - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi\" \/>\n<meta property=\"og:description\" content=\"Mardiros M\u0131nakyan istibdat ko\u015fullar\u0131nda, bat\u0131l\u0131 tiyatro yapan tek kumpanya olarak 1908 II. Me\u015frutiyet kav\u015fa\u011f\u0131na kadar Osmanl\u0131 Dram Kumpanyas\u0131\u2019n\u0131 ayakta tuttu, yeni oyuncular yeti\u015ftirdi, tiyatro k\u00fclt\u00fcr\u00fcn\u00fc tan\u0131tarak, gericili\u011fe kar\u015f\u0131 bat\u0131l\u0131 ya\u015fam \u00e7izgisini izleyerek Osmanl\u0131 halk\u0131n\u0131 e\u011fitti. 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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=75732","og_locale":"en_US","og_type":"article","og_title":"Tanzimat, \u0130stibdat ve Me\u015frutiyet: M\u0131nakyan Kumpanyas\u0131 - Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","og_description":"Mardiros M\u0131nakyan istibdat ko\u015fullar\u0131nda, bat\u0131l\u0131 tiyatro yapan tek kumpanya olarak 1908 II. Me\u015frutiyet kav\u015fa\u011f\u0131na kadar Osmanl\u0131 Dram Kumpanyas\u0131\u2019n\u0131 ayakta tuttu, yeni oyuncular yeti\u015ftirdi, tiyatro k\u00fclt\u00fcr\u00fcn\u00fc tan\u0131tarak, gericili\u011fe kar\u015f\u0131 bat\u0131l\u0131 ya\u015fam \u00e7izgisini izleyerek Osmanl\u0131 halk\u0131n\u0131 e\u011fitti. Berken D\u00f6ner Nesim Ovadya \u0130zrail\u2019in\u00a0Osmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar\u00a0kitab\u0131 ile ba\u015flayan tiyatro tarihi ara\u015ft\u0131rmalar\u0131,\u00a0Tanzimat, \u0130stibdat ve Me\u015frutiyet Tiyatrosu\u2019nda Mardiros M\u0131nakyan […]","og_url":"https:\/\/akunq.net\/tr\/?p=75732","og_site_name":"Bati Ermenistan Ve Bati Ermenileri Sorunlari Ara\u015ftirmalar Merkezi","article_published_time":"2023-08-31T07:26:04+00:00","article_modified_time":"2023-08-31T07:39:32+00:00","og_image":[{"width":1280,"height":720,"url":"https:\/\/akunq.net\/tr\/wp-content\/uploads\/sites\/6\/2023\/08\/Minakyan-Kumpanyasi-1.webp","type":"image\/webp"}],"author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"20 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/akunq.net\/tr\/?p=75732#article","isPartOf":{"@id":"https:\/\/akunq.net\/tr\/?p=75732"},"author":{"name":"admin","@id":"https:\/\/akunq.net\/tr\/#\/schema\/person\/096f1d38a12cce57fb855b485ed24c9e"},"headline":"Tanzimat, \u0130stibdat ve Me\u015frutiyet: M\u0131nakyan Kumpanyas\u0131","datePublished":"2023-08-31T07:26:04+00:00","dateModified":"2023-08-31T07:39:32+00:00","mainEntityOfPage":{"@id":"https:\/\/akunq.net\/tr\/?p=75732"},"wordCount":4069,"commentCount":0,"image":{"@id":"https:\/\/akunq.net\/tr\/?p=75732#primaryimage"},"thumbnailUrl":"https:\/\/akunq.net\/tr\/wp-content\/uploads\/sites\/6\/2023\/08\/Minakyan-Kumpanyasi-1.webp","articleSection":["Haberler","Kitaplar-Ele\u015ftiriler","M\u00fclakatlar","Tarih Sayfalar\u0131","\u00dcnl\u00fcler"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/akunq.net\/tr\/?p=75732#respond"]}]},{"@type":"WebPage","@id":"https:\/\/akunq.net\/tr\/?p=75732","url":"https:\/\/akunq.net\/tr\/?p=75732","name":"Tanzimat, \u0130stibdat ve Me\u015frutiyet: M\u0131nakyan Kumpanyas\u0131 - 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