Theatre and Gender

In August 2021, the Delhi University Oversight Committee made the decision to eliminate works by Mahasweta Devi, as well as the Dalit authors Bama and Sukirtharani, from its curriculum for English literature. This removal included Mahasweta Devi's "Draupadi", Bama's "Sangathi", and Sukirtharani's "My Body". The rationale behind this action was a concern that students might find these texts discomforting. This controversial move sparked considerable debate, raising questions about the potential double standards within the Oversight Committee. Many scholars and educators viewed this decision as undermining the fundamental role of literature, which is to mirror the diverse realities of human life. Although the removal of these texts briefly appeared to hinder progress in the fight for Dalit women's rights, it could be argued that, unintentionally, the Oversight Committee brought attention to the issues of the Dalit and women's rights, conducive to the canonization of the Dalit rhetoric. Within these works which were already there in the syllabus, Sukirtharani's poem "My Body" faced accusations of explicit obscenity. This poem vividly depicts the suffering of a woman who has experienced sexual assault, drawing parallels with elements from nature. The trauma endured by both the speaker in the poem and the reader is a harsh reality for many Dalit women. The speaker grapples with a dual marginalization based on both gender and caste; this study also reveals underlying feminist themes. This paper aims to conduct a comprehensive textual and cultural scrutiny of the poem "My Body" in order to delve into the trauma confronted by the speaker, who represents the experiences of Dalit women. This analysis is conducted through the lens of trauma studies, shedding light on the profound emotional and societal impact of the poem's narrative.

Günümüzde feminizm ve kadına yönelik tutum sosyoloji çalışmalarında ve farklı kültürel alanlarda önemli araştırma konularındandır. Bu konu son birkaç on yılda edebiyat sahasında da tartışılmaktadır. Özellikle kadın yazarların eserlerinde ana tema olarak kabul edilmektedir. Zoya Pirzad kurgusal edebiyat alanında romanının ana odağını kadına veren, kadın dünyasını, kadın düşüncesi ve kadın kalemiyle anlatmayı başarabilen, Çağdaş İran Edebiyatı’nın önemli yazarlarından biridir. Pirzad, kadınsı anlayış ve tutumla, kadınsal duyguları ve deneyimleri eserlerinde sıkça konu edinir. 1380 yılında basılan ve yazarın ilk uzun romanı olan Işıkları Ben Söndürürüm kadın toplumunu tasvir eden ve toplumda hâkim olan belirli düşünce kalıplarını ortaya koyan kadın romanlarındandır. Adı geçen bu romanda; etnik kökenine, ait olduğu sınıfa, yaşam tarzına bakılmaksızın; kadınların maruz kaldığı, çoğu zaman görmezden gelinen baskıları, ötelenmişlik, yalnızlık duyguları, kimlik arayışları, yepyeni, kadınca bir bakış açısıyla gözler önüne serilmiştir. Bugün toplumda kadın varlığının önemine binaen bu romanın kadın bakış açısıyla incelenmesi ve kadına dair belirli düşünce kalıplarının yıkılması elzemdir. Yazar, eserinde kadının zihin ve iç dünyasındaki labirentlerin canlı tasvirini sunarak, kadının dünyasını kadın kimliğinin farklı boyutlarını ortaya koymuştur. Dolayısıyla bu araştırmanın temel amacı; Zoya Pirzad’ın Işıkları Ben Söndürürüm adlı romanında kadının toplumsal ve bireysel varoluş mücadelesini ve onun “anne”, “eş”, “âşık” ve “toplumsal” kimliklerini belirleyen kişiliğinin farklı boyutlarını incelemektir.

Consider the following casting calls: What do they reveal about contemporary casting practices? What stereotypes are upheld or dispelled? Which calls invite artists to present their full selves? Which do not? #1 Character Descriptions: We are committed to authentically casting equity-seeking characters, including BIPOC, 2SLGBTQ+, d/Deaf, and/or disabled characters. The character descriptions ... represent our understanding of each character's identity. We ask that artists only submit for characters within their own lived experience. We welcome submissions for these roles from INSERT artists and artists from the wider INSERT diaspora who are comfortable playing INSERT. All of the characters (apart from INSERT and INSERT) are INSERT GENDERS in the INSERT COUNTRY.

object to be seen to being a subject to see, to be, and to be seen. This transition is presented as the choice of the woman herself. The transference of the lived experiences of pain and passion onto paper through the medium of words, in addition to brush strokes on canvas, intertwines art history with life writing. The article focuses on Susan Vreeland's novel which can be classified as a fictionalised biography, or bio-fiction, The Passion of Artemisia, wherein she transforms a part of Artemisia's life, both as a woman and a female artist, into a journey through her paintings. Art's utilization as an expression or articulation of emotions, and formation of identity, compellingly transmutes the fictional reality narrated from Artemisia's perspective. At this point, the author's history writing collates with the artist's history writing. With reference to Linda Nochlin's inquiry, the novel will also be used to analyse Artemisia's status as a "great artist." As the main point, this article examines the reappearance of Artemisia, who shines like a barocca in the Baroque period and paved the way for the sparkle of women who came before her, through the lens of a female writer centuries later.

Türkçe eğitimi okuma, dinleme, konuşma, yazma becerilerinin geliştirilmesinin yanında dili sevdirme, kültürel aktarım sağlama, kelime hazinesini geliştirme gibi genel amaçları da olan bir alandır. Çocuğun algı alanına giren her türlü etkinlik çocuğun dili kullanma becerilerine ve kültürel kazanımlarına da etki eder. Bu bakımdan çocuğun izlediği filmler, okuduğu kitaplar, izlediği tiyatro oyunları gibi etkinlikler çocuğun hem dil gelişimini hem de karakter gelişimini etkiler. Çocuk edebiyatı ürünlerinden olan çocuk tiyatrolarının çocuk edebiyatına uygun değerleri taşıması beklenilir. Bu araştırma kapsamında betimsel yöntem ile Rafadan Tayfa: Her Notadan ve Hapşuu isimli çocuk tiyatrolarının Türkçe eğitimi ve çocuk edebiyatına uygunluğu hakkında değerlendirmeler yapılmıştır. Araştırma özellikle eğitimsel anlamda çocuk tiyatrosunda bulunması gereken nitelikleri ortaya koyan bir örnek olması bakımından önemlidir.

Das postdramatische Theater, verstanden als eine "bestimmte", nicht eine "abstrakte" Negation des Dramatischen, ist, so Christoph Menke, gekennzeichnet durch eine Einsicht in die strukturelle Differenz zwischen Spiel und Handeln, Theater und Praxis (Menke). Im Diskurs über zeitgenössischen Tanz wird "Praxis" etwa zeitgleich mit Menkes Feststellung zu einem zentralen Begriff aufgewertet: Im Umfeld postdramatischer Performance verortete Stücke werden als Diskurs einer Praxis selbst-reflexiver Denkbewegungen beschrieben (Lepecki; Husemann; Sabisch). Vor dem Hintergrund dieses scheinbaren Widerspruchs wird das Verhältnis von Handlung und Spiel in dem seriellen Format walk+talk des Wiener Choreographen Philipp Gehmacher untersucht. Er lädt ChoreographInnen ein, ihre Praxis vor Publikum zu reflektieren, und zwar, indem sie diese performativ ausführen und dabei über sie sprechen. Bisher taten dies u. a. Meg Stuart, Boris Charmatz, Antonia Baehr, Mette Ingvartsen und Martin Nachbar im Wiener Tanzquartier (2008) und den Kaaistudios Brüssel (2011). Auf einer mit minimalen Interventionen präparierten Bühne akkumulieren sich im Lauf jeder Serie, wenn nicht Handlungen, so doch Handhabungen und Lokalisierungen. Sie aktualisieren sich wechselseitig in einem Prozess, der sich anders vollzieht als zeitlich linear und räumlich konsistent: relational (Löw) und durational (Bergson). Was so vorgeschlagen wird, so die These, ist eine Neu-Be-Gründung von Bewegung im Theaterraum.

Das postdramatische Theater, verstanden als eine "bestimmte", nicht eine "abstrakte" Negation des Dramatischen, ist, so Christoph Menke, gekennzeichnet durch eine Einsicht in die strukturelle Differenz zwischen Spiel und Handeln, Theater und Praxis (Menke). Im Diskurs über zeitgenössischen Tanz wird "Praxis" etwa zeitgleich mit Menkes Feststellung zu einem zentralen Begriff aufgewertet: Im Umfeld postdramatischer Performance verortete Stücke werden als Diskurs einer Praxis selbst-reflexiver Denkbewegungen beschrieben (Lepecki; Husemann; Sabisch). Vor dem Hintergrund dieses scheinbaren Widerspruchs wird das Verhältnis von Handlung und Spiel in dem seriellen Format walk+talk des Wiener Choreographen Philipp Gehmacher untersucht. Er lädt ChoreographInnen ein, ihre Praxis vor Publikum zu reflektieren, und zwar, indem sie diese performativ ausführen und dabei über sie sprechen. Bisher taten dies u. a. Meg Stuart, Boris Charmatz, Antonia Baehr, Mette Ingvartsen und Martin Nachbar im Wiener Tanzquartier (2008) und den Kaaistudios Brüssel (2011). Auf einer mit minimalen Interventionen präparierten Bühne akkumulieren sich im Lauf jeder Serie, wenn nicht Handlungen, so doch Handhabungen und Lokalisierungen. Sie aktualisieren sich wechselseitig in einem Prozess, der sich anders vollzieht als zeitlich linear und räumlich konsistent: relational (Löw) und durational (Bergson). Was so vorgeschlagen wird, so die These, ist eine Neu-Be-Gründung von Bewegung im Theaterraum.

This study examines the integration of a fictional narrative with the life story and art of the seventeenth-century Baroque female painter Artemisia Gentileschi, whose impact has endured for centuries. It addresses the shift of a woman from being an object to be seen to being a subject to see, to be, and to be seen. This transition is presented as the choice of the woman herself. The transference of the lived experiences of pain and passion onto paper through the medium of words, in addition to brush strokes on canvas, intertwines art history with life writing. The article focuses on Susan Vreeland’s novel which can be classified as a fictionalised biography, or bio-fiction, The Passion of Artemisia, wherein she transforms a part of Artemisia’s life, both as a woman and a female artist, into a journey through her paintings. Art’s utilization as an expression or articulation of emotions, and formation of identity, compellingly transmutes the fictional reality narrated from Artemisia’s perspective. At this point, the author’s history writing collates with the artist’s history writing. With reference to Linda Nochlin’s inquiry, the novel will also be used to analyse Artemisia’s status as a “great artist.” As the main point, this article examines the reappearance of Artemisia, who shines like a barocca in the Baroque period and paved the way for the sparkle of women who came before her, through the lens of a female writer centuries later.

Memet Baydur, 20. yüzyıl Türk tiyatrosuna sunduğu eserlerle yaşadığı dönemin en üretken oyun yazarlarından biridir. Eserlerini verdiği süreçte dünyanın farklı ülkelerinde geçen yaşamı boyunca Türkiye gündeminin sıcak olaylarını takip etmesi, oyunlarının konu seçiminde ve karakterlerinin inşasında belirleyici olmuştur. Baydur, oyunlarında ele aldığı konularla ülke gerçeklerini bireylerin yaşamlarına yansımaları üzerinden irdelerken evrensel olanı da yakalama kaygısındadır. Oyunlarının dramaturgi stratejisine bakıldığında zaman, mekan, eylem (durumlara sıkışmış eylem) üçgeninde tasarımlar yaptığına tanık oluruz. Baydur, oyun kişilerini bu üçgende var ederken-oynatırkenkendine de yazar olarak oyun oynama alanı bırakır. Bu çalışmada insanoğlunun en temel psikolojik dürtülerinden biri olan oyun oynama dürtüsünün Memet Baydur' un sanatçı olarak motivasyonunda oynadığı rol; yazarın eserlerinde yaşam-oyun ilişkisinin nasıl yer aldığı; dramaturgisindeki "oyun içinde oyun" stratejisi, yazarın hayatı da göz önünde bulundurularak incelenmiştir. İnceleme sonucunda Memet Baydur'un oyunlarını yazarken, kendisinin hem oyun kurgulayıcısı hem de tasarladığı karakterler bağlamında oyuncusu olduğu bir üretim süreci yaşadığı kanaatine varılmıştır.

TÜRKİYE'DE ÇOCUK TİYATROSU DÜŞÜNCESİ VE ÖZ TİYATRO ÖZET Çocuk, yaşama attığı ilk adımdan itibaren çevresini gözler, gördüklerini taklit eder. Öğrendiği tüm bilgi, beceri ve davranışı çevresine bakarak, daha doğrusu yaparak-yaşayarak kazanır. Bu sebeple çocuklarımızın yetiştirilmesinde çok önemli bir sanat disiplini ve eğitim ortamlarında değişik isimlerle kullanılan ve olumlu sonuçlar doğuran tiyatronun önemine dikkat çekilmelidir. Çalışmamızda Türkiye"de çocuk tiyatrosunun tarih içindeki gelişimi ve durumu incelenmiştir. Bu seyir içinde bir pedagog, tiyatrocu, yazar ve siyasetçi olarak millî kültür ve eğitimimize hem Osmanlının son döneminde hem de Cumhuriyet döneminde katkısı olmuş İsmayıl Hakkı Baltacıoğlu"nun eğitimde tiyatro tezi (Öz Tiyatro) açıklanmıştır.

Radyofonik piyes, mikrofonda tiyatro, radyo tiyatrosu gibi çeşitli adlandırılmaları bulunan radyo oyunları, tıpkı radyonun üstlendiği gibi tarihin farklı dönemlerinde farklı görevler üstlenmiştir. Bu bağlamda çalışmada radyo oyunlarının dünyadaki ve Türkiye'deki tarihsel gelişimi ile değişimini anlamak ve Erken Cumhuriyet Döneminde radyo oyunlarının nasıl bir toplumsal işlev üstlendiğinin değerlendirilmesi amaçlanmaktadır. Çalışma kapsamında öncelikle birbirlerine çok yakın iki tür olan tiyatro ile radyo oyununun benzerlikleriyle farklılıkları ortaya konulmaktadır. Radyonun kör bir araç olduğu savından yola çıkıldığında radyo oyunlarının üç temel öğesi olan efekt, diyalog ve müziğin radyo oyunlarının dinleyicinin zihninde canlandırılmasında nasıl bir etkisi ve işlevi olduğu üzerinde durulmaktadır. Ardından radyo oyunlarının dünyadaki ve Türkiye'deki tarihsel gelişimine değinilmektedir. Erken Cumhuriyet Dönemine odaklandığımızda radyo oyunlarının, hayatın her alanından konuları kapsadığı görülmektedir. Bu dönem özellikle II. Dünya Savaşı'nın yaşandığı yıllara denk geldiği için radyo oyunlarında çoğunlukla toplumu çeşitli propagandalara karşı koruyucu, onları bilgilendirici ve milli değerleri ön plana çıkartıcı konulara ağırlık verilmiştir. Cumhuriyetin en başından beri hedeflediği yeni bir millet yaratma amacı çerçevesinde radyo oyunları; milli birlik ve bütünlüğün oluşturulması, ailenin korunması, çocukların milli değerler, kültür ve eğitim konularında yetiştirilmesi gibi toplumsal işlevler üstlenmiştir. Ayrıca radyo oyunları halkı siyasi, tarihi, edebi ve zirai gibi konularda bilgilendirirken sanatın gelişmesi ve sanatçıların yetişmesi noktasında da önemli rol oynamıştır.

In 2015, the Waking the Feminists movement (WTF) was formed as a grassroots organisation dedicated to campaigning for equality for women across the Irish theatre sector. What started as a sharing of professional frustrations amongst the professional Irish theatre community quickly became a global phenomenon, garnering support from celebrities on social media (Meryl Streep, Nicole Kidman, Gabriel Byrne, etc.); winning international recognition (the first ever international Lilly Award – an award that honours women in American theatre); and prompting a wave of sister organisations and responses to spring up across disciplines (the Equal Representation for Actresses 50:50 campaign founded in the UK; Sounding the Feminists founded for Irish musicians; a Six Point Plan on Gender Equality instituted by the Irish Film Board). In 2016, thanks to support from The Arts Council / An Chomhairle Ealaion, #WakingTheFeminists commissioned groundbreaking research into the gender balance in Irish th...

Drama is a powerful tool to be pro-active in integrating cultural and linguistic translation for social change. Therefore, use of drama with carefully drafted communication strategy to meet specific development needs of a society is a not a well explored tool to meet the development communicational needs. As an art form developed to meet the development communicational needs of India, the study explores street theatre as development communication tool and an agent of cultural and public diplomacy in today's context. The street plays performed by 'Prerna Kala Manch' the drama wing of 'Viswajyoti communication' Varanasi, are the cases examined to determine the development communication strategy used in construction of drama message and its presentation. The study further explores the use of 'audience-messagechange' strategy and elements of innovation and local realism used for the generation of message and diffusion. The study proves that the theatre goes beyond diffusion innovation method and further a participatory and culturally engaged realism is applied in the process of construction and dissemination of message. Participatory observation of theatre presentation and interview with the director, play writer, trainer and performer of 'Prerna Kala Manch' drama and street theatre are the methods used to gather information and it is examined in the light of development communication strategy developed by World Bank

Ankara Devlet Tiyatrosunda sahnelenen yerli ve uyarlama çocuk oyunları içerisinden tabaka örnekleme yöntemiyle her sezondan bir oyunun seçilmesi kaydıyla on (10) oyun metni belirlenmiştir. Nitel araştırma veri toplama tekniği içerisinde yer alan doküman incelemesi ile veriler toplanmıştır. Toplanan veriler içerik analizi yöntemiyle incelenmiştir. Yapılan analizde; Okvuran, Tavşancıl ve İlhan'ın (2006) belirlemiş olduğu alt alanlar kullanılmıştır. Bu alt alanlara göre oyunların duygusal yönleri belirlenmiştir. İncelemede, analiz birimi bütün oyun kabul edilerek değerlendirme yapılmıştır. Yapılan değerlendirmelere göre incelenen on (10) çocuk oyunu metninde, olayların mantıklı ve tutarlı bir şekilde ilerlediği, dil kurallarına dikkat edildiği tespit edilirken oyunlarda en fazla olumsuz özellik taşıyan alt alan "Karakter tanıtımı" olarak belirlenmiştir.

This paper discusses how Japanese theatres have handled race in a country where hiring black actors to perform Shakespeare’s plays is not an option. In English-speaking regions, such as the United States and the United Kingdom, it is common to hire a black actor for Othello’s title role. Blackface is increasingly unacceptable because it reminds viewers of derogatory stereotypes in minstrel shows, and it deprives black actors of employment opportunities. However, the situation is different in regions where viewers are unfamiliar with this Anglo-US trend. In Japan, a country regarded as so homogeneous that its census does not have any questions about ethnicity, it is almost impossible to hire a skilled black actor to play a title role in a Shakespearean play, and few theatre companies would consider such an idea. In this cultural context, there is an underlying question of how Japanese-speaking theatre should present plays dealing with racial or cultural differences. This paper seeks ...

Bu makalede dünya edebiyatından çocuklar için tiyatroya uyarlanmış eserler üzerinde durulmuştur. Çalışmada çocuk tiyatrosunun eğitimdeki önemi ve yerine değinildikten sonra dünya edebiyatında çocuklar için yazılmış eserler hakkında genel bir inceleme yapılmış olup çocuk tiyatrosunun tanımı, amacı, özellikleri ve tarihi gibi kavramsal boyutlara değinilmiştir. İncelemeler neticesinde çocuklar için yazılan tiyatro eserlerinin pedagojik açıdan değerlendirmesi yapılmıştır. Sonuç bölümünde ise çocuklar için yazılmış tiyatro eserleri üzerine genel bir yargıya varılmıştır. Edebi eserlerden tiyatroya çevrilen çocuk oyunları hem pedagoji hem dil kurallarına uygun olmanın yanında ahlaki değerleri işleyen fikirlere sahip olmalıdır. Oyun yazarları yanında yönetmenlere de iş düşmektedir. Eğlenirken eğitmek amacıyla yazılan bu eserler çocuğun hayal dünyasına hitap etmeli, örnek alabileceği karakterleri sevdirmelidir.

Plenty of Sri Lankan Tamil artists and scholars have talked about the lives and struggles of ethnically oppressed Sri Lankan Tamil people as war and lives of the people are indivisible in for the past five decades. Thus, theatre, which played a vital role in mobilizing people against ethnic oppression as well as voicing nationally and internationally, symbolizes women to tell how the people are worse subjugated by the oppressors. Hence, most of the core performers performing uplifting roles in the theatre were played by women.The objective of this study is to examine the voices of women raised for protesting gender and sexual assault of the Tamil women and others in Sri Lanka through Tamil theatre. War theatre and Propagandist theatre including street plays and "PonguTamizh" performances, which was considered as the theatrical uprising for the political aspirations of Tamils, are used as the primary sources whereas discussions made on the themes of these plays are considered as the secondary sources of this paper.

This section of the work will look at gender identity disorder in the era of scientific improvement. The first part of this section will look at scientific innovations in the field of sexuality, starting with "chemical lobotomy…shut down the higher functions of…brain…" (4:48 Psychosis, 14). Attention will also be focused on hormonal therapy recommended by hospitals, prior to possible clinical surgery. For example, in Cleansed, Grace undergoes a hormonal therapy before a clinical surgery that is carried out on her and her sex is reassigned. The last part of this section will be

Theater is a very effective art with the contribution of its visuality. As it is an art in which the actors are seen on stage, it creates a lasting effect on the audience. Theater, which can be seen as a kind of entertainment art, has an instructive aspect besides this fun aspect. Being a visual art and having a lively narrative style turns theater into an effective and attractive educational tool. It can be seen as a visual education tool, especially for children who are still in their first childhood. Theater is a genre that is open to contributing to the education of children in terms of its operation, as well as its visual features. In this study, a research was conducted on children's theater. The selected eleven children theater texts were examined in terms of subject, summary, message, conflict, solution, persons / costume, place / setting, time, and speech pattern, respectively. In the theater texts, the functions of the people and the messages of the plays were tried to be determined. The review includes Turkish children theaters that were written and staged after 1980. This study aims to make an assessment by examining Turkish children theaters of the post-1980 period in terms of their general characteristics.

Ξεκινώντας από την αναμορφωμένη και εξιδανικευμένη εικόνα της Μαρίας-Αντουανέτας που ο Edmund Burke έπλασε στη διάσημη πραγματεία του ενάντια στη Γαλλική Επανάσταση και τις αρχές της, Reflections on the Revolution in France (1790), και με αναφορές στα θεατρικά κείμενα που γράφτηκαν στη Βρετανία για την απαγχονισμένη βασίλισσα της Γαλλίας την εποχή αυτή, θα συζητήσω στην ανακοίνωση τα γυναικεία πρότυπα που κατασκευάζονται μέσα από το θέατρο, στο τέλος του 18ου αιώνα και στις αρχές του 19ου, και καθορίζουν τον ρόλο και τη θέση της γυναίκας στην μετεπαναστατική κοινωνία. Η συζήτηση γύρω από τη Μαρία-Αντουανέτα, τις απεικονίσεις και τις (ανα)παραστάσεις της στη Βρετανία, τη χώρα που ανέλαβε να υπερασπιστεί για όλη την Ευρώπη τη μοναρχία απέναντι στις δημοκρατικές διεκδικήσεις των γάλλων επαναστατών και των υποστηρικτών τους, αλλά και γενικότερα, η μελέτη των γυναικείων δραματικών προσώπων που επιτρέπουν λογοκρισία και θεατρική κριτική να παρουσιαστούν στη λονδρέζικη σκηνή, υποδεικνύουν τις ιδεολογικές, αισθητικές, σκηνικές και πολιτικές συμπλεύσεις που επιβάλλουν στη Βρετανία τον αποκλεισμό των γυναικών από τη δημόσια σφαίρα.

Focusing on British plays portraying Marie Antoinette as a devoted mother and virtuous maiden at the end of the 18th century and Burke's response to French women participating in the Revolution, the paper discusses issues of female sexuality and conduct at the turn of the century and in the aftermath of 1789.

La presente investigación se articula a partir de un eje temático específico; Federico Chueca y Joaquín Valverde y su zarzuela La Gran Vía. Nuestro interés no tiene que ver con un análisis estrictamente formal de la obra, sino con el estudio de las conductas y de los comportamientos atribuidos a los personajes femeninos por parte de los compositores en función de su condición social y de género. Más allá de la pertinente contextualización de los autores, del proceso creativo y del contenido de esta zarzuela, profundizaremos en el análisis de la relación entre la caracterización musical y la argumental. Los personajes femeninos se convierten, por lo tanto, en nuestro objeto de estudio principal.

Öz Bu araştırmada, Devlet Tiyatroları Genel Müdürlüğüne yakınlığı ve ülkenin başkenti olması sebebiyle tiyatro politikalarına ve çalışmalarına yön verme bakımından önemli görev ve sorumluluğa sahip olan Ankara Devlet Tiyatrosunda 2005/2006-2014/2015 sezonları arasında sahnelenen çocuk oyunu metinleri içerik açısından incelenmiştir. Çalışma betimsel tarama modeliyle yapılmıştır. 2005/2006-2014/2015 yılları arasında Ankara Devlet Tiyatrosunda sahnelenen yerli ve uyarlama çocuk oyunları içerisinden tabaka örnekleme yöntemiyle her sezondan bir oyunun seçilmesi kaydıyla on (10) oyun metni belirlenmiştir. Nitel araştırma veri toplama tekniği içerisinde yer alan doküman incelemesi ile veriler toplanmıştır. Toplanan veriler içerik analizi yöntemiyle incelenmiştir. Yapılan analizde; Okvuran, Tavşancıl ve İlhan'ın (2006) belirlemiş olduğu alt alanlar kullanılmıştır. Bu alt alanlara göre oyunların duygusal yönleri belirlenmiştir. İncelemede, analiz birimi bütün oyun kabul edilerek değerlendirme yapılmıştır. Yapılan değerlendirmelere göre incelenen on (10) çocuk oyunu metninde, olayların mantıklı ve tutarlı bir şekilde ilerlediği, dil kurallarına dikkat edildiği tespit edilirken oyunlarda en fazla olumsuz özellik taşıyan alt alan "Karakter tanıtımı" olarak belirlenmiştir. Abstract This study deals with the text contents of children's plays that were performed between the theatrical seasons 2005/2006 and 2014/2015 at Ankara State Theatre, which holds significant missions and responsibilities with regand to dominating theater policies and studies thanks to its proximity to General Directorate of State Theatres and its being the capital of our country. The study was conducted, based on descriptive survey model. Ten play texts, one out of each theatrical season, were chosen among children's plays, either domestic on adopted, which were performed at Ankara State Theatre between the theatrical seasons 2005/2006 and 2014/2015, applying layer sampling method. Data were collected by means of document analysis, a type of qualitative research data collection method. Data gathered were studied thoroughly via content analysis method. Subfields defined by Okvuran, Tavşancıl and İlhan (2006) were used in the analysis. According to these subfields, emotional aspects of the plays were determined. In the study, the plays were assessed, regarding the whole play as the unit of analysis. It was ascertained in the ten children's plays' text that were analyzed based on the due assessment that the plot proceeds logically and consistently and language rules are looked to. Besides, character presentation was defined as a subfield with the highest number of negative features.

Bu çalışma toplumsal kimlik, sanat ortamı ve kadınlık arasındaki ilişkileri
incelemektedir. Çalışmanın ilk bölümünde benlik, toplumsal kimlik ve cinsiyet etiketi, ikinci ve üçüncü bölümlerinde kimlik ve etiket tartışmaları ekseninde kadının ve erkeğin sanat ortamındaki varoluş biçimleri araştırılmıştır. Çalışmanın son bölümünde Türkiye’deki kadın tiyatro yönetmenlerinin deneyimlerinden örnekler verilerek, kadınlık ve sanatçılık arasındaki toplumsal rol çatışmaları tartışılmıştır. / This paper aims to review the relationship between social identity, art environment and femininity. In the first part of this paper self and social identity and gender label researched, second and third part includes the discussion identity or label and then it’s researched that how women and men existence in the art environment. The last part includes examples of
Turkish theater directors’s experiences as a women and discussion part is about women artists and role conflict.

Bu çalışma model aldığı tiyatro oyunları
üzerinden, toplumsal cinsiyet kalıp yargılarının
Türkiye’de çocuk tiyatrosuna yansımasını
araştırmaktadır. Çalışmada Ülker Köksal'ın
basılmış tüm çocuk oyunları ile Gülen İpek Abalı,
Ziya Demirel, Nesrin Kazankaya gibi sanatçıların
çocuk oyunlarından bazıları toplumsal cinsiyet
kavramı ile ele alınacaktır. Çocuk tiyatrosunda
eğitim işlevinin öne çıktığı bilinmektedir. Bu
nedenle çocuk oyunlarında yer alan toplumsal
cinsiyet kalıp yargıları, kendini koruması, yeniden
üretmesi ve nesilden nesile aktarması bakımından
önemlidir. / This article aims to searching the gender
patterns on plays of Turkish children’s theatre
through model plays. In this article plays written
by Ülker Köksal, Gülen İpek Abalı, Ziya Demirel,
Nesrin Kazankaya will be reading with the
concept of genders. It is known that education
is the first aim in children's theatre. The gender
roles in children's theatre are important because
of repoducing and learning.

This article examines the feminist potential and political risks of a theatrical mode of protest staged by women in India, namely, the deliberate and public exposure of naked female bodies as a gesture of defiance against the violence of the Indian state. I examine literary, theatrical, documentary, and political representations of such naked protests in India, tracing how they draw from and reconstitute a wider cultural repertoire around women’s nakedness that shapes their meaning and impact as critiques of patriarchal violence. I also consider the gendered logics through which each of them attempts to rescript the patriarchal terms underwriting the violence of the state. I argue that naked protest does deviate from the hegemonic norms of feminine shame that render women violable—yet in particular framings, the gesture also risks reinscribing a chivalrous ideal of masculinity in ways that should give feminists some pause. I conclude that the eventual success of naked protests as a viable mode of women’s protest in India should be gauged not only in terms of their immediate reception and outcome but also in terms of the gendered scripts that they rewrite or reinforce. Moving away from a false dichotomy of protective or dominative masculinity implicit in some of these protests, I conclude that an ongoing deconstruction of the gender binary is integral to any feminist critique of violence.

"Magda Romanska in her chapter, “Opheliamachine: Gender, Ethics, and Representation in Heiner Mueller’s ‘Hamletmachine,’ provides a brilliant literary and political analysis of Mueller’s use of the character of Ophelia in his signature play. She traces German culture’s use of Ophelia (and Hamlet) from the late 18th Century to the present – in drama, poetry, the fine arts, medicine and psychology – and explores how the various images, articulations, and manifestations of Ophelia and Hamlet fed into to the coming-into-being German nationalism of the 19th Cnetury and, at the same time, contributed to the specifics of gender identity within German culture.  In so doing, Romanska traces the cross-fertilization (if you will) between the shaping of gender and the shaping of nation in Germany. Showing how Muller made use of all this cultural baggage, Romanska, provides a non-pelemical look at Muller’s own conflicted relationship – in ‘Hamletmachine’ and elsewhere – to the radical feminism of the late 10th Century.  In so doing, she provides not only an erudite look at Mullers digging up of the dead in ‘Hamletmachine,’ but points forward to this volume’s third section which explores Muller in relation to the unfolding political culture of the 21st Century.”  - Editor, The Cultural Politics of Heiner Muller, 2008

"The patriarchal construction of the difference between masculinity and femininity is the political difference between freedom and subjection". Carole Patemen (1988) 1. Introduction Woman is born to suffer-Simone De Beauvoir To start with such vocalizations, it seems, it is very painful for women. So, Simone de Beauvoir once asked herself what is a woman? and answered instantly that "she is nothing but the womb". Through this self-denying words Beauvoir painstakingly reveals the harsh reality and the plights of a woman's life. It is rightly stated in the following: • Throughout history, women have been generally oppressed and repressed by the patriarchal society in which men are dominants. They were denied the right to live in the same kind of freedom as men and to get their share of education and career. Instead they were forced to stay at home and raise the family. In other words, they were silenced and locked away by the dominating gender. Marriage was considered important for women to ensure their security, but then they were forced to obey their patriarchal husbands without any objection (Beden N: 2011, p-2). According to feminists wherever there is patriarchal set up women are thought to be subservient or inferior fit for the role of loving mother, caring wife, dutiful daughter, sacrificing sister and so on. Women are defined in relation to men, without whom as if women have no identity. It's a story of women over the globe. These oppressions have continued through the ages. Patriarchy is infused in the society in such a depth that dominance, identification and centeredness of males over female is prevalent in every field. In every field political, social, cultural, academic, legal, or religious-dominance plus servitude of male is prevalent. Murtaza S. (2012) says: • Numerically women constitute half of the human race, but in general women occupy a secondary place in relation to men, on the bases of class, status and political power-the three recognized dimensions of inequality. A peek into the history will reveal that women have always been subordinated to men. According to Beauvoir," what peculiarly signalizes the situation of women is that she-a free and autonomous being like all human creatures-nevertheless finds herself living in a world where men compel her to assume the status of the other"(Beauvoir;1949), and this otherness takes different forms; one such form is her oppression (p-3).

Bugün bütün dünyada "Çocuk ve Tiyatro" konusu belirsizliklerle doludur ve aydınlatılması gerekmektedir. Türkiye, çocuk tiyatrosuna ilk başlayan ülkelerden biri olduğu halde, bu konuda araştırma yapılmamış, dışarıdan yapılmış çalışmalarla yetinilmiştir. (XIX. yüzyılın sonları) H. Gratiot-Alphandery tarafından Fransa'da yapılan kaynak araştırmasına ilişkin verilerden giderek ele alınan bu inceleme, Türkiye'de bu alanda yürütülecek çalışmaları isteklendirmek amacını taşmaktadır. Abstract Dans la plupart des pays, le théme "Enfant et théâtre" comporte des incertitudes, et nécessite des clarifications. L'idée de s'intéresser au théâtre, de pratiquer du théâtre par les enfants et l'education par le théâtre est apparue la première fois a la fin du 19ème siècle dans Notre pays. Les recherches individuelles sur le théâtre pour enfants qui ont commencé dan sles années quarante en Turquie, se ont orientées vers des travaux plus significatifs. A côte des pièces de théâtre pour enfant jouées dans des théâtre privés pour adultes, des théâtres d'enfant jouant seulement des pièces de théâtre pour enfants ont été créés. Dans cette recherche, diverses sources ètrangères ont été utilisées, plus particulièrement des sources françaises. Cette recherche s'est penchée sur le "rôle du théâtre pour enfants", plus particulierement son "rôle de critique". 8 Tiyatro Araştırmaları Dergisi, 26:2008 • ISSN: 1300-1523 Comme dans le monde entier, la Turquie a intié des travaux sur le "théâtre pour enfants". Mais les travaux sur ce sujet sont toujours insuffisants. Aujourd'hui le théâtre pour enfants est dans sa phase d'evolution, de recherche. Bien que la Turquie soit l'un des premiers pays initiant le théâtre pour enfants, les recherches sur le sujet sont restées limitées, elle s'est contentee des recherches étrangères. Cette étude prenant pour base les données provenant de la recherche faite H. Graitot-Alphandery, a pour but d'encourager les futurs travaux dans ce domaine. • •

Unser Beitrag stellt das Verhältnis von Körperlichkeit, Materialität und Gender in Theater und Theaterwissenschaft ins Zentrum der Auseinandersetzung und zielt darauf, die Interdependenz der drei Kategorien herauszuarbei-ten und hervorzuheben. Dieser Zusammenhang der drei Begriffe ist in der Theaterwissenschaft durchaus keine Selbstverständlichkeit, im Gegenteil: Während Materialität und Körperlichkeit im Kontext des performative turneine starke Aufwertung und Zuwendung erfahren haben, ist Gender vergleichsweise marginal geblieben. Im ersten Teil soll es um eine begriffstheoretische Erörterung der Kategorien von Materialität und Körperlichkeit in ihrem Verhältnis zur Kategorie Gender gehen, wie sie primär im deutschsprachigen theaterwissenschaftlichen Diskurs der letzten zehn bis 15 Jahre Verwendung finden. Im zweiten Teil stehen drei Strategien des Gegenwartstheaters im Mittelpunkt, welche das Verhältnis von Materialität, Körperlichkeit und Gender verhandeln: Cross-Dressing, Nacktheit und Affektion der Dinge.

CTR 165, Winter 2016
Equity in Theatre
Edited by Rebecca Burton and Laine Zisman Newman

Striving to achieve equity in theatre requires not simply an acknowledgement of marginalization and exclusion, but a rectification of imbalances and misrepresentations. In this issue of Canadian Theatre Review, contributors seek to increase visibility around existent industry barriers while positing possible solutions to help affect positive change. Academics, artists, and activists creatively and persuasively call for the inclusion of marginalized practitioners not only onstage but in the creation, development, and production of artistic works; they celebrate and revel in the work that women and minoritized theatre practitioners have and continue to produce; and they look to the future to envision performatively how equity in the industry might be achieved. As noted by many of the authors, essential to any effort or collaboration is an intersectional approach that recognizes how different women encounter the theatre industry in varied ways. Underrepresented and marginalized theatre creators experience oppressions through complex and layered barriers, which cannot be confronted or remedied through a single action or one-off event. Substantive alterations are greatly needed to permeate all aspects of the industry and the institutions that support it. Nothing short of a blitzkrieg effort will do. In this CTR issue, the contributors’ strength, creativity, and drive is testament to an undeniable reality: change is coming to a theatre near you.