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Celebration, Entertainment and Theatre in the Ottoman World gathers twenty-four original essays exploring a broad range of historical performances in the Ottoman Empire. Offering a reappraisal of research on Ottoman festivities, celebrations and entertainment, the volume also examines the European-style theater that flourished in Istanbul during the last decades of the Ottoman Empire. Contributors address issues such as the use of Istanbul's public space in celebrations, the possibilities for "having fun" in a small Aegean town, and the role of the Ottoman Sultans in promoting both art forms and public amusement. Other essays focus on the connections between puppet theater and early Ottoman comedies, the performance of Ottoman and foreign-style music in Istanbul and the everlasting problems of the sultans' censors. By exploring festivals, ceremonies, and entertainments in their historical context, these essays provide a new approach to historical performances in the age of the Ottoman Empire.--Amazon.com.
Approaching Ottoman social history through the lens of entertainment, this volume considers the multi-faceted roles of entertainment within society. At its most basic level entertainment could be all about pleasure, leisure and fun. But it also played a role in socialisation, gender divisions, social stratification and the establishment of moral norms, political loyalties and social, ethnic or religious identities. By addressing the ways in which entertainment was employed and enjoyed in Ottoman society, Entertainment Among the Ottomans introduces the reader to a new way of understanding the Ottoman world. Contributors are: Antonis Anastasopoulos, Tülay Artan, Ebru Boyar, Palmira Brummett, Kate Fleet, James Grehan, Svetla Ianeva, Yavuz Köse, William Kynan-Wilson, Milena Methodieva and Yücel Yanıkdağ.
Rosemarie K. Bank and Michal Kobialka, eds., Theatre/Performance Historiography: Time, Space, Matter / Reviewed by Danny Devlin
This book presents the holistic examination of the 1720 Ottoman imperial circumcision festival through a combined analysis of the hitherto unknown archival sources, contemporary narratives as well as book paintings.
This study aims to disclose the inner dynamics of the rich and diverse milieu within the Ottoman-Turkish society that created its unique hybrid forms through the scenic arts against an understanding of modernity in terms of a simple import or imitation of Western cultural forms. In the 19th century Armenians pioneered this process with melodramas, necessitating the presence of female performers on the stage; Armenian women thus went onstage with patriotic motives. Among the two leading figures of the Turkish Republic period are Nazim Hikmet, the most prolific but severely censured Turkish dramatist and Muhsin Ertugrul, who founded the subsidised theatres of Ankara and Istanbul. A later phase of modernisation arrives in the sixties with a social awakening towards the conditions of the rural society: Ankara becomes the seat of "popular" theatre after the founding of Ankara Art Theatre, in 1961. Mehmet Ulusoy's work in France in the 1970–1980s crowns the final synthesis.
This important contribution to the Theatre And series explores what the possibilities and limits of 'community' contribute to our understanding of theatre, and what theatrical practice and representation reveal about the tensions inherent in community settings. Drawing on case studies from wide-ranging locations, from the Middle East, to Latin America and South Asia, the text underlines the plurality of meanings associated with community, as well as the plurality of ways that theatre has engaged with those meanings. Interdisciplinary in its reach, this is the ideal companion for students of theatre and performance studies with an interest in applied theatre or performance in communities.
Tanbûrs are long-necked lute-like instruments played in the art, Sûfî, and folk musical traditions along the Silk Road and beyond. This book provides a detailed study of the history of the tanbûr, its role in Ottoman music, construction and playing technique.
In a world that is constantly awake, illuminated and exposed, there is much to gain from looking into the darkness of times past. This fascinating and vivid picture of nocturnal life in Middle Eastern cities shows that the night in the eighteenth-century Ottoman Empire created unique conditions for economic, criminal, political, devotional and leisurely pursuits that were hardly possible during the day. Offering the possibility of livelihood and brotherhood, pleasure and refuge; the darkness allowed confiding, hiding and conspiring - activities which had far-reaching consequences on Ottoman state and society in the early modern period. Instead of dismissing the night as merely a dark corridor between days, As Night Falls demonstrates how fundamental these nocturnal hours have been in shaping the major social, cultural and political processes in the early modern Middle East.
A study of the chief of the African eunuchs who guarded the sultan's harem in Istanbul under the Ottoman Empire.
This volume explores the transnationality and interculturality of early modern performance in multiple languages, cultures, countries and genres. Its twelve essays compose a complex image of theatre connections as a socially, economically, politically and culturally rich tissue of networks and influences. With particular attention to itinerant performers, court festival, and the Black, Muslim and Jewish impact, they combine disciplines and methods to place Shakespeare and his contemporaries in the wider context of performance culture in English, Spanish, French, Dutch, German, Czech and Italian speaking Europe. The authors examine transnational connections by offering multidisciplinary perspectives on the theatrical significance of concrete historical facts: archaeological findings, archival records, visual artefacts, and textual evidence.