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The concepts of "narrative" and "demonstration" appear as basic concepts in textual studies. These concepts have been used by different disciplines to discuss the basic dynamics of the demonstrative and the narrative. In this article, the positioning of the narrative in the ortaoyunu, which is one of the traditional Turkish theater genres, will be examined. Ortaoyunu carries all the characteristics of a theatrical space with its fragmented and open format. The tongue twister in the plays are remarkable in terms of positioning the narrative in a performative show. This section is the section that includes the extraordinary elements that Kavuklu tells in order to convey her verbal mastery to the audience. For this reason, it is important to understand the coexistence of the narrative and the demonstrative in a performative structure. In the tongue twister section, which takes place before the chapters of the plays, Kavuklu's memory is told, supported by dialogues to which Pişekar reacts with surprise. At the end of all this extraordinariness, it turns out that Kavuklu is not telling about an event that happened to her, but about a dream she saw. As such, Kavuklu inserts a narrative into the performance. Here, the dream narrative is highly functional in embedding a plot-independent plot into the performance. This narrative player, which is constructed with extraordinary features; brings together the concepts of "diegesis" and "mimesis" by transforming the actor from the actor to the narrator. These features are noteworthy in that they show that the drama texts are based on both performance and narrative. Examination of this unity is remarkable in terms of producing new forms on the structure of traditional theatre. In the tongue twister, the ortaoyunu scene is no longer performative and turns into a new context in which Kavuklu is the narrator. Thus, two different times and places emerge in the game. The first of these belongs to the playful and the other to the narrative. From this point of view, the middle game as a genre emerges as a genre with dynamics between the narrative and the demonstration, in which the characters of the play change within the performance. Thus, it gains a layered and renewable feature. This allows it to renew itself with the dynamics of both speech and display. It can be said that these features have a remarkable function in bringing the contemporary and traditional together in the structural analysis of traditional Turkish theatre. The fact that the narrative is a dream allows to push the limits of the extraordinary, depending on the talent of the narrator, and also facilitates the return from the narrative to the performance. In this study, the examples of ortaoyunu whose tongue twister were examined were selected from the texts compiled by Cevdet Kudret. The tongue twister section is accepted by the researchers as the most important part of the ortaoyunu. Since the sections in question form a narrative and are long, the examples of games that will convey the subject are summarized in the study. In terms of the limitation of the study, all game examples were not included in the study to avoid repetition. [ABSTRACT FROM AUTHOR]

In this study, Antonin Artaud's theory of theatre of cruelty will be examined together with saya gezme play of Anatolia. Artaud is accepted among the pioneers of avant-garde theory which reflects crucial breakdowns in the structure of Western theatre. When looked into the sources from which these mentioned theories feed, it is seen that, these sources are based on the idea of going back to basics of theatre, remembering the ritualistic feature of it and creating something "new" and "different" from this essence. Other than these features, the impact of structural characteristics of Eastern theatre can be clearly observed on Artaud's theatre theory. However, it is obvious that, this impact intends to reveal a new form and content rather than imitation. Reinterpretation of the functions of ritual, relationship between player and audience, symbolic manifestations of body underlie Rimbaud's theatre theory. With these features, ritualistic side of theatre shines out and provides significant data for contemporary theatre studies. Premises which shape Artaud's theatre theory can be seen in the structure of most of the village plays in Anatolia. Therefore, aforesaid theatre theory and saya gezme play which signally exhibits the features that are influential in the formation of this theory have been selected as an example. The key issue of this paper, rather than signifying the similarity between a Western theory and village plays, is to draw attention to the failure in developing any theoretical structure on village plays and it hasn't formed subtexts of new forms. Today, although there is corpus of compilations on village plays, it is remarkable that these plays haven't generated theatre theories which are genuine and take shape in its own context and therefore, this needs to be questioned. For this reason, it is thought that, examining the impacts of village plays on a theory formed in the West will raise awareness with regard to generating new ideas. [ABSTRACT FROM AUTHOR]

At present, 'sense of sight' has much shorter and impressive transfer ability compared to 'reading' and 'writing'. This effectiveness stems from the fact that it offers a lot of data rapidly and also at the same time."The person observing" is provided with considerable amount of information regarding the life styles and experiences by "the object observed", which is quite important. Therefore, the existence of visual texts in cultural studies are as important as that of the written and oral texts. In this paper the traditional architecture is studied as visual text. Due to their visible properties and the fact that they are organized according to their social structure context, the traditional buildings have become the common interest of both architecture and folklore disciplines. Considering this common ground, in this paper, the examples of traditional architecture are examined as visual text through visual folklore. The examples were taken from the work titled Living Traditional Architecture at the Turkey in 2003 edited by M. Öcal Oğuz, Ezgi Metin and Fatih Mormenekşe due to the fact that architectural examples examined in the text were the structures recently compiled and that it examined architectural examples from almost all the regions of Turkey. The traditional buildings, without the need for written or spoken texts like in other visual texts, transfer plenty of information about the way of life of the period they existed. This information also provides different perspectives to researchers so that the cultural heritage can be safeguarded and redesigned in agreement with the modern times. [ABSTRACT FROM AUTHOR]

In this study, the relation between caricature and oral culture is analyzed through the examples chosen from two significant magazines that have voice in Turkish humor agenda in the last twenty years; Leman and Penguen. It is discussed in the study that the genre of caricature, which is both a visual text and a humor text, relocates oral culture products into a new context and transforms them into different text types. Although caricatures are perceived as actual and popular texts, they are significant sources for reading social, political and communal marks. Because caricatures, nourishing from communal memory, transform oral culture into a comical text and also remind readers of cultural codes again. It is possible to assert that caricatures as humor texts contribute to the sustainability of oral culture by such recall. In addition to all these, caricature texts offer significant datas to researchers on identifying how products of oral culture which, transforming into a new text, are perpetuated, safeguarded and passed on the next generations are perceived in daily life and the way to read their current form. When the history of Turkish caricature is analyzed, it is observed that caricature magazines, starting from their first versions, often benefit from oral culture, especially folk humor characters. Thus, approaching the genre caricature in a folkloric manner would contribute to debates on the perpetuity and sustainability of oral culture. [ABSTRACT FROM AUTHOR]

"Constant" form of tangible cultural heritage and formation of intangible cultural heritage according to life dynamics brought different problems in the approaches of protecting culture with them. In the 1989 Recommendation by UNESCO, while the word "preservation" is used in order to give the meaning of protecting folklore, in the Agreement of Protecting Intangible Cultural Heritage the word "safeguard" is preferred; this difference in words is significant as it signalizes the difference between two heritages. When protection approaches are analyzed, it is seen that material culture can be explained through the words such as "constancy" and "consistence" while intangible cultural heritage can "change" and "transform" with people and according to contexts. Despite these differences, it is impossible to think tangible culture apart from the people that create it and practices around it, and to think intangible cultural heritage apart from the material contexts through which it continues. Thus, it is possible to say that tangible culture will transform into a dead object and intangible cultural heritage will lose its dynamic form when it is separated from the context that creates it. In this text, totalitarian protection approaches about material culture and intangible cultural heritage on the basis of 1972 Convention concerning the protection of the World Cultural and Natural Heritage,1989 Recommendation on the Safeguarding of Traditional Culture and Folklore, 2003 Convention Safeguarding Intangible Heritage, 2004 Yamato Declaration, will be analyzed. These approaches are discussed through issues such as changing context of intangible cultural heritage and reproduction of it, city culture and museums. [ABSTRACT FROM AUTHOR]