Bitef

ernomorske obale) i Persijanca (kóji recituje poeziju sa azerbejdžanskim akcentom). Završni deo komada, ili bitiş, kratak je i sastoji se od svađe između Karađoza i Hadživata, kóji na kraju uzvikuje: "Uništio si plátno, to će rastužiti vlasnika (ovde se misii na Boga) I '. Na to Karadoz odgovara: "Ispričali smo samo jednu izmišljenu priču. Oproštaj nam daj za grehe kóje smo počinili". Sveca se gasi, plátno nestaje u mraku, a svet odlazi na pocinak do sledeče predstave. Predstavu izvodi, uz pomoč jednog ili dvojice šegrta, lutkar - majstor kóji tumači sve likove, imitira različite glasove i dijalekte i peva pesme. "Hayali" ili "Hayalbaz" (imaginárni, maštar), odnosno lutkar - majstor, nije samo puki izvodač vec i kreatívni umetnik u Karađoz teatru - istinski umetnik, kóji priprema lutke, izvodi predstavu, obično je zasnívajúci na tradicionalnom zapletú, all uz improvizacije, pri čemu vodi računa o dugačkoj dramskoj Struktur! dok se kreče od jednog lika ka drugom, ali se njegova šenka nijednom ne pojavijuje na platnú. Ovo dragoceno nacionalno naslede, medutim, jeste u opasností. Kreiranje i interpretacija suptilnih nijansi kod likova zahteva veliku veštinu, što se dañas, nažalost, malo ceni. (Lutkari uglavnom kopiraju stare lutke, ali neki još uvek prave svoje lutke kóje predstavljaju tradicionalne likove, čak i Hadživata i Karadoza.) Zbirke tih lutaka su svuda rasute, cesto i u inostranstvu, gde su makar neki muzeji uložili nápore na njihovoj konzervaciji. Umetnost lutkarskog pozorišta senki Ірак nije zabeležena ni u jednoj istoriji umetnosti, a tehnikama izrade lutaka i načinima izvodenja predstava preti opasnost od potpunog isčezavanja. Alpay Ekler

The Tradition of Shadow Theater in Turkey Karagöz is a shadow play that has its origins from hundereds of years ago in Asia. Some say the shadow puppet art originated in China in the second century and made its appearances in Mongolia, India, and Java, and was brought by immigrants to Egypt and the Moslem world. It is believed by some that the play was first performed for the Ottoman Sultan Selim I (1512-1520) in Egypt following his conquest of the Memluks. Prof. Metin And, working from historical sources, presents perhaps the most convincing of the competing explanations for the origins of this popular art form. Basing his argument on Ottoman sources he credits the Ottoman palace itself with having imported the shadow plays from Egypt. From here it filtered down into folk culture. By the seventeenth century, the Karagöz plays had taken the form which we think of today - a fusion of age-old Anatolian traditions to classical islamie as well as Turkish nomadic culture. The plays were channels of popular criticism in an age of political and economic confusion. Yet they had moral and even spiritual side. Karagöz, literally Black-Eye, is the hero of the play. Uneducated but with plenty of native wit, he inevitably gets the better of his gentile friend Hacivad, who is no match for Karagöz despite his education. For centuries the zill-i hayal (imaginary shadow), as the shadow play was called in the past, entertained Turkish audiences. According to the 17th century Turkish writer Evliya Celebi, however. Karagöz was first performed at the Ottoman palace during the reign of Bayezid I (1389-1402). The shadow play is known to have been widely performed for the public and in private houses between the 17th and 19th centuries, particularly during the month of Ramazan, when there were nightly performances (except for the Night of Power) in the coffee houses. Legend attributes the character of Karagöz to a real person who lived during the reign of Orhan Bey (1324-1360). A mosque was being built in the then Turkish capital of Bursa, and among the labourers were Karagöz and Hacivad, who kept distracting the others form their work with their humorous repartee. As a result, construction of the mosque took longer than expected, and when the angry sultan heard about their antics he had them both execut-