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    Characteristic Features of the One- Act Plays and Text Analysis from the Turkish Theatre
    (Rector Ciu Cyprus Int Univ, 2020) Durmus, Gulsah
    In this study, the main findings on the theme and technique of one-act plays are listed in the light of the data in the introduction chapter of Benjamin Roland Lewis' Contemporary One Act Plays book. The aim of this study is to reveal the characteristics of one-act plays which are considered as a new dramatic genre in terms of the theme and the technique in the light of the analyzes carried out with a text-oriented approach. In order to achieve this aim, nine one-act plays were selected from the Republican Period of the Turkish Theatre (1980-2000): Adalet Agaoglu, Duvar Oykusu; Turgut Ozakman; Ben, Mimar Sinan; Sabahattin Kudret Aksal, Bay Hic; Murathan Mungan, Bir Garip Orhan Veli; Gungor Dilmen, Galatea ile Pigmalion; Nezihe Meric, Sevdican; Sezai Karakoc, Ceyiz; Orhan Asena, Bir Kucuk Gece Muzigi; Turan Oflazoglu, cagri. These works were analyzed in the light of data presented in the introduction section of Benjamin Roland Lewis' book named Contemporary One-Act Plays. In the introductory part of the study, one-act plays are briefly introduced and the scope of the study is made clear. In the first part the subject, in the second part the technique, in the third part the dialogue, in the fourth part the stage- business and stage- direction in the one-act plays, in the fifth part the one-act play analyzes are discussed and in the sixth part the results obtained from the study are listed. In one-act plays, the singleness of impression and dramatic effect to be left on the reader/ audience, the skilled workmanship of the play wright in the process of bringing technical elements together, the pursuit of the rare, rather than the situations often encountered in everyday life, handling of the most crucial points of every stage of human life and the desire to reveal the whole; the small number of people, the limitation of time and space, but their intensity and depth; subject diversity (mythology, history, mysticism, psychology, philosophy, migration, love, passion, art, aesthetics, etc.) are among the characteristic features of one-act plays identified throughout the study. One-act play is the feast of the climax in the art of drama/ theater.
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    Yranstextual Relations From Alageyik to Yarali Geyik
    (Geleneksel Yayincilik Ltd Stl, 2012) Durmus, Gulsah
    In this study, Ahmet Necati Cumuli's play Yarali Geyik has been analysed in accordance with The Transtextual Relations Theory put forward by Gerard Genette in order to reveal intertextual relations in literary texts. In his theory, Genette has regarded intertextuality as one of the five transtextuality relations including hypertextuality, paratextuality, architextuality and metatextuality. In this new respect that is put into practice by text-centered close reading, the hypotexts of Yarali Geyik and the fact that these texts have been chosen by the author deliberately, have been effective. In the work, in accordance with the traditional forms, texts of oral tradition (folk ballad and story) have been the basis for a text of written tradition (the art of drama) and the hypertextuality relation has been put into practice in a way that many intertextuality theorists agree on. In the study, Yarali Geyik is regarded as the hypertext and the folk ballad and story as the hypotext. Furthermore, the process in which the author gives his own thematic meaning to the work that he rewrites with a transposition homodiegetic and the intertextual formal and thematic variations have been emphasized in the study. The work has been analysed in terms of not only the hypertextuality relation but also other transtextual relations. In paratextuality, other texts that the author interrelates by means of the title he's chosen for his work have been determined; in architextuality the literary form of the work has been stated and in metatextuality the evaluations of the author that he made about Yarali Geyik and its hypotexts in other texts, have been stressed. Formal transformations also brought along semantic transformations and the author has transformed the hypotexts that are about the ill luck of deer hunt to a hypertext that is about the pleasure of the dedication to an ideal.