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Hacivat &
Karagöz: These are the two folk heroes of Karagöz shadow-puppet
theater. The language they use, the way they look at life and the class they
represent are never the same. With these clashes and also a wide range of folk
characters, they play out a rich social and political satire.
The source of
shadow plays is accepted as southeastern Asian countries. There are different
views about it coming to Turkey. One of the views is that the plays such as
"ember armlet" and
"dream tent" known in Middle East are shadow plays
and they’ve been brought to Anatolia during migrations. Other view is that the
shadow play has come into Turkey after Yavuz Sultan Selim, who had conquered
Egypt in 1517, had brought the shadow play artists to Turkey. Karagöz had
become one of the most enjoyed entertainment methods of public, which mainly
focused on public types beginning from the 18 th. century. Karagöz is
played depending on the talent of an artist. Moving the design on curtain,
voicing them, dialects or imitations are all made by the artist.The subjects of
Karagöz plays are funny elements. Double meanings,
exaggerations, verbal plays, imitating accents are
the main elements of the comedy.
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Legend has it that these two types were construction laborers who worked on the
building of the Ulucami in Bursa in the 14th century .
They spent most of their time clowning around and stirring up trouble by keeping
the other workers from working. The sultan, who was upset with the delay of the
construction of Ulucami, had them executed. People felt sorry for them and have
continued to remember their jokes. It is from these that the Karagöz theater
derives.
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1. The
beginning section in which Hacivat comes to the curtain singing semai and Karagöz’s
calling him after saying a lyric poem and in which Karagöz and hacivat quarrel
is called "Mukaddime". In this section, the play’s philosophical and
Islamic mysticism and showing the realities are underlined by the lyric poem
Hacivat said.
2. In
the "muhavere" section, there’s a one-to-one conversation apart from the
series of events based only on word of Karagöz and Hacivat. Muhavere may be in
rigmarole. In this section the personal characteristics and opposite natures of
Karagöz and Hacivat are underlined. Muhaveres may both be related or not be
related to the play. Besides there are Muhavere with double Karagözs inconstant
muhavere or middle muhavere types.
3. The
section where the story is mainly expressed and the other characters come on the
curtain is the "fasýl" section. The play takes its title according to the
subject of this section. The players leave the curtain in any way toward the end
of the play. Only Hacivat and Karagöz remain on the curtain.
4. At
the ending part of the play, the ending is informed with the conversation of
Karagöz and Hacivat and apologies are made for any mistakes of the event to the
spectators and the announcement of the following game is made and the play ends.
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In Karagöz play,
there’s satire and irony. These ironies may reach to the state administrators
with a humorous style. The main
characters of the play are Karagöz and Hacivat. Karagöz represents the
public’s morals and common sense. He speaks as he is. Hacivat is educated in
Moslem theology school and he’s unreliable and following the order. The other
characters are Tuzsuz (Salties) Çelebi, Drunk, Baberuhi, Albanian, Jewish,
Circassian, Kurdish, Laz, Addictive, males taking female parts etc. Karagöz was
interested and supported by the Palace. Karagöz had took place in the festivals
and circumcision ceremonies of princes. Karagöz is
especially integrated with the Istanbul centered Ottoman culture. It is possible
to see the life of Istanbul in Karagöz plays. Aghas, Great Marriage, Boat and
Tahmis are Ferhad and Ţirin, Fisher, Leila and Majnun, Wrong Marriage Tahir and
Zühre, Yalova Pleasure, Karagöz’s Clerkship, Karagöz’s Love, Karagöz’s
doctorate etc.
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| The Technique
of Hacivat & Karagöz : |
The white curtain
on which Hacivat & Karagöz is played is named as
"mirror". At first the
curtains were 2x2.5 m. then they began to be made in 110x80 m. size. In
the inner side, below the curtain there is an "edging
wood". There are also
cymbals, tambourines, canes, pipes and lamps to illuminate the curtain. These
are on the edging wood. The designs used in the play are 32-40cm sized and they
are generally made from the skin of camel or cows. The skins are made
transparent with a special method. Then they are embroidered with sharp painted
blades called "nevregan". The pieces are tied with ropes named rafters or
catgut. Then the designs are painted with Indian ink or root paints.
Karagöz, which
was the most important entertainment of Ottoman period, was played in ramadans,
circumcision feast festivals, coffeehouses and gardens. Karagöz, which is known
to address to social events of the period, criticizing them, were prevalently
played in Istanbul. This was spread to other parts of Anatolia by the artists
going on tours.
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The Karagöz shadow-puppet plays have enjoyed great popularity for many years.
With the emergence of technologically advanced visual entertainment means such
as cinema, television and video, Karagöz has become a museum exhibit today.
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