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Diversity and comedy in Ottoman Istanbul: The Turkish shadow puppet performances.

机译：奥斯曼帝国伊斯坦布尔的多样性和喜剧：土耳其皮影戏。

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摘要

The dissertation studies the Turkish shadow puppet theater, an art form that has been very popular in Ottoman Istanbul since its introduction in the sixteenth century. The play constituted a special frame of activity in a city inhabited by diverse ethnic and linguistic communities. It was a comic performance where language, communication, and sexuality were foregrounded. The political authority in Istanbul sought by way of decrees to ensure that the inhabitants of the city were cast in politically, ethnically, professionally, and sexually defined roles. The symbolic world thus constructed was deconstructed in the shadow puppet play. Opposed to the carefully staged community guided by rules and taboos, the audience participated in a world of puppets where speech increased lack of communication and where sexuality was no longer repressed. The dissertation shows how Turkish entertainers have played upon this imperial attempt at regulating communication and sexuality. Examples are given of interpretations, mostly from European travellers, who have judged these shows as obscene. It is shown how a sensitivity for the functions of artistic, ritual, or comic activities is essential for our interpretation of the Turkish shadow theater. It is argued how the medium was an important part of the genre. The entertainment provided by Turkish shadow puppet performances often revolved around the deconstruction of both visual and linguistic material. Its comedy was meta-theatrical. Rather than suspending the audience's belief in the physical reality of the performance, it encouraged the awareness of the here-and-now of theater. Rather than following the conventions of representation and of linguistic communication, it dissected theater into its basic elements of image, motion, and voice. It further dissected voice, or language into its basic elements of sound and meaning. The dissertation also analyzes the structural development of the play and shows how the format of the performance as well as the repertoire of plays and characters achieved laughter in the specific context of Ottoman Istanbul. For text analysis, the dissertation uses the extensive repertoire of plays that were transcribed from the performances of a particular puppeteer, namely Nazif Efendi, in 1915.
机译：论文研究了土耳其皮影戏，这是一种艺术形式，自16世纪引入土耳其伊斯坦布尔以来，在奥斯曼帝国的伊斯坦布尔就非常流行。该剧在一个由各种种族和语言社区居住的城市构成了一个特殊的活动框架。这是一部喜剧表演，展现了语言，沟通和性取向。伊斯坦布尔的政治权力机构通过法令寻求确保该城市的居民在政治，种族，职业和性别上都有自己的角色。如此构建的象征性世界在皮影戏中被解构了。在规则和禁忌的指导下，精心安排的社区与之相反，听众参加了一个木偶世界，在这个世界中，言语变得越来越缺乏沟通，性欲也不再受到压制。论文表明了土耳其演艺人员在帝国主义规制交往和性行为方面的表现。给出了一些解释示例，这些解释主要来自欧洲旅行者，他们认为这些表演是淫秽的。它显示了对艺术，仪式或喜剧活动功能的敏感性对于我们对土耳其皮影剧院的诠释至关重要。有人争辩说媒介是流派的重要组成部分。土耳其皮影戏的表演经常围绕视觉和语言材料的解构来进行娱乐。它的喜剧是元戏剧的。它并没有让观众相信表演的真实感，而是鼓励了人们对剧院的当下意识。它没有遵循表示和语言交流的惯例，而是将剧院分解为图像，运动和声音的基本元素。它将声音或语言进一步分解为声音和含义的基本元素。论文还分析了戏剧的结构发展，并展示了在奥斯曼帝国伊斯坦布尔的特定背景下，表演的形式以及戏剧和人物的剧目是如何引起欢笑的。为了进行文本分析，论文使用了从1915年一个特定的伪装者纳粹（Nazif Efendi）的表演中转录而来的戏剧剧目。

著录项

  • 作者

    Mizrahi, Daryo.;

  • 作者单位

    Columbia University.;

  • 授予单位 Columbia University.;
  • 学科 Cultural anthropology.;Middle Eastern history.;Theater.
  • 学位 Ph.D.
  • 年度 1991
  • 页码 247 p.
  • 总页数 247
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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