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THEATER IN NINETEENTH CENTURY ISTANBUL: CASES FOR THE
TRANSLATION OF AN ARCHITECTURAL TYPOLOGY
A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES
OF MIDDLE EAST TECHNICAL UNIVERSITY
BY
EZG YAZICI
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR
THE DEGREE OF MASTER OF SCIENCE IN THE DEPARTMENT OF
HISTORY OF ARCHITECTURE
SEPTEMBER 2010
Approval of the Graduate School of Social Sciences
Prof. Dr. Meliha Altunk
Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Science. Assoc. Prof. Dr. Gven Arif Sargn
Head of Department
This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Science. Ass. Prof. Dr. Namk G. Erkal Supervisor
Assoc. Prof Dr. Elvan Altan Ergut (METU, AH)
Ass. Prof Dr. Namk G. Erkal (METU, AH)
Assoc. Prof Dr. F. Cn BLSEL (METU, ARCH)
I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name :
Signature :
iii
ABSTRACT
THEATER IN NINETEENTH CENTURY ISTANBUL: CASES FOR THE TRANSLATION OF AN ARCHITECTURAL TYPE
Yazc, Ezgi
Master, Department of History of Architecture
Supervisor: Ass. Prof. Dr. Namk G. Erkal
September, 2010, 156 pages
As far as the traditional Turkish theater does not refer to any architectural
structure; the theater buildings that are built during the nineteenth century are
identified with the ideals of modernity and treated as the literally translations of
the Western typologies.This study aims to investigate the possbility of a geniune
architectural language in the theaters of nineteeenth century Istanbul. While doing
this, rather than offering a pure formal analysis,the study concentrates on the
cultural panorama of the nineteenth century Istanbul, political and ideological
changes, international relations, economic downturn and their impact on theater
that starts to appear as a popular leisure time activity of the capital of the Ottoman
Empire.
Key Words: Ottoman Theater, Nineteenth Century, Leisure time in Istanbul, Ottoman daily life
iv
Z
ONDOKUZUNCU YZYIL STANBULUNDA TYATRO YAPILARI: MMAR TPOLOJLERDE EVRYE BR RNEK
Yazc, Ezgi
Yksek Lisans, Mimarlk Tarihi Blm
Tez Yneticisi: Yard. Do. Dr. Namk G. Erkal Eyll 2010, 156 Sayfa
Geleneksel Trk tiyatrosu hibir mimari yap ile tanmlanmadndan
ondokuzuncu yzyl boyunca ina edilen tiyatro binalar modernizm fikirleriyle
zdeletirilmi ve Bat tarz tiyatro tipolojisinin bir kopyas olarak
grlmlerdir. Bu tezin amac ondokuzuncu yzyl stanbulundaki tiyatro
yaplarnn otantik bir mimari dile sahip olma ihtimalini ortaya karmaktr. Bunu
yaparken, formal bir analiz yerine, ondokuzuncu yzyl stanbulunun kltrel
panoramasna, politik ve ideolojik deiimlere, uluslaras ilikilere, ekonomik
darboaza ve bunlarn Osmanl bakentinde popler bir elence haline gelen
tiyatro ile olan ilikilerine deinilmitir.
Anahtar Kelimeler: Osmanlda Tiyatro, Ondokuzuncu Yzyl, Istanbulda
kltrel yaam, Osmanlda gnlk yaam
v
To My Parents
vi
ACKNOWLEDGMENTS The author wishes to express her deepest gratitude to her supervisor Ass. Prof Dr.
Namk Erkal for his guidance, advice, criticism, encouragements and patience
throughout the research.
The author would also like to thank Assoc. Prof. Dr. Paolo Girardelli for his
suggestions and comments.
The technical assistance and iner support of Dr. Cem T. Ylmaz and Dr. Burak
Erkol Ylmaz gratefully acknowledged.
vii
TABLE OF CONTENTS PLAGIARISM........................................................................................................iii ABSTRACT ........................................................................................................... iv Z ............................................................................................................................ v DEDICATION........................................................................................................vi ACKNOWLEDGMENTS .................................................................................... vii TABLE OF CONTENTS ..................................................................................... viii LIST OF FIGURES................................................................................................................ix
CHAPTER
1. INTRODUCTION
1.1 Theaters of Istanbul in Nineteenth Century ..............................2 1.2 Urban Space and Daily Life.....................................................10
1.3 Political and social background of the change.........................13
1.4 The Task of Translation............................................................17 1.5 Meeting with the 'other'............................................................18 1.6 Translate or not to translate......................................................20
1.7 Cultural Translations................................................................26
1.8 Architectural Translations........................................................28
2. COURT THEATERS
2.1 Dolmabahe Court Theater..................................................................32
viii
2.2 Dolmabahe Palace Complex ..............................................................40
2.3 Yldz Court Theater.............................................................................41
2.4 Yldz Palace Complex.........................................................................44 2.5 The duality of being visible and invisible............................................46 2.6 Imperial Boxes.....................................................................................48 2.7 Morality and Boxes..............................................................................52 2.8 Embassies.............................................................................................56
3. THEATER IN PERA 3.1 Levantine Background.........................................................................68 3.2 Social Structure ...................................................................................70 3.3 Borders of the District..........................................................................73 3.4 The name of District.............................................................................73 3.5 Urban Structure....................................................................................74 3.6 Arcihtectural Language........................................................................76
3.7 Theater in Pera......................................................................................78
3.7.1FrenchTheater.........................................................................78
3.7.2 Varyete Theater.....................................................................80
3.7.3 Naum Theater........................................................................81
3.7.4 Elhamra Theater....................................................................84
3.7.5 Caf Des Fleurs ....................................................................85
3.7.6 ark Theater...........................................................................86
ix
3.7.7 Talimhane-Croissant Theater................................................87
3.7.8 Concordia- Jardin des Fleurs.................................................89
3.7.9 Tepeba Summer and Winter Theaters.................................90
4. DIREKLERARASI
4.1 Ramadan: time for the appearance of performances and spaces102
4.2 Armenians and Theater .....................................................................106
4.3 Gedikpaa Theater..............................................................................111
4.4 Urban Structure .................................................................................114
4.5 Meddah Orta Oyunu and Tuluat.........................................................119
4.6 Coffee-house as the setting of performance.......................................125
4.7 Theater Buildings...............................................................................130
5. CONCLUSION.......................................................................