A CROMELL TRIAL IN THEATRE OF TANZIMAT PERIOD: KEŞF-İ ESRAR
When the western theater, which takes its source from Europe and the conflicts of life, is observed we see there are old ages appeared. In Turkish geography, the execution area of this art which originally based on imitation, is traditional games until the Tanzimat period. Our literature, which reco...
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| Formato: | article |
| Lenguaje: | DE EN FR TR |
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Fırat University
2019
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| Acceso en línea: | https://doaj.org/article/907a741a235244e397211fc9522c9d5b |
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| Sumario: | When the western theater, which takes its source from Europe and the conflicts of life, is observed we see there are old ages appeared. In Turkish geography, the execution area of this art which originally based on imitation, is traditional games until the Tanzimat period. Our literature, which recognized European wise theatre in Tanzimat period, perceive the world at the Westernizated point and the texts have played important and influental role in change and conversion of the society in this stage. The plays of this period can be grouped as comedies, verse dramas, romantic dramas, melodramas, emotional dramas and musical plays. Abdulhak Hâmid Tarhan who wrote Duhter-i Hindû (Desi Girl) in type of romantic drama reffering the issue of Indian, attracted the attention. A few years later, work of Keşf-i Esrâr (Discovery of the Secret) is also about the Indians under British exploitation story in the context of a love. Although the work had a weak fiction, drawn attention with its point of view which was negating the British people and stand by Indian side. The work of Keşf-i Esrâr both shows similarities between Hamid’s works by its perspective and the subject and also has allusions Hugo’s Cromwell. Inspiratons of author from Hugo and Hâmid should not be underestimated in his work which written about Indian traditions, customs, way of life and the beliefs morely accordance with the neo-Hinduism, which is canged by the effects Christian ones. In our study, we firstly present analysis of Keşf-i Esrâr, which transcripted by ourselves, then tried to find out the allusions in the work from Hâmid and Hugo and retain the place of the work in the theatre of the Tanziman period. |
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