Theatre

 

 

 

                                                                     

 

 

 

 

 

 

            

 Problems of Turkish Theatre Today

 

by

 Ayse IPEK

 Derya ASLAN

 Ezgi OZER

 Nur SUN

 Sinem KAVAK

 

 submittted to

  Zeliha GULCAT

 

 14.05. 2004

 

 

 

        When we say "Turkish Theatre" we mean the period extending from the dramatic performances of the Turks before migrating to Anatolia to the modern theatre in today's Turkey. All developments during the Tanzimat-Mesrutiyet-Republican eras are included in the context of Traditional Turkish Theatre. The theatre of Turks who migrated to Anatolia from Asia and that of the Seljuks and Ottomans before western influence was all traditional. Theatre during the Tanzimat and Mesrutiyet eras, when the Ottoman Empire opened up to the West, was widely influenced by Europe. The modern characteristics of Turkish theatre were established during the Republican era.  (AND Metin Geleneksel Türk Tiyatrosu (Traditional Turkish Theatre) Bilgi Yayinevi Bilgi Publishing House Ankara, May 1969. )

        In the 1970's, Turkish theatre made use of the techniques in the west while preserving its own traditional       structure. National and universal tendencies are observable in the work of playwrights, directors, and in the concepts of acting. After the 1972-1973 theatre season however, private theatres in Turkey started closing down, and within a couple of years were considerably reduced in number. Subsidies led to the opening of new theatres, and the state theatre especially began a new period of stability in Bursa and Izmir in the 1971-1972 season, and in Istanbul in the 1978-1979 season, and increased the number of its directorates.

        At that time the State Theatre had five theatres in Ankara: Büyük Tiyatro, Küçük Tiyatro, Yeni Sahne, Altindag Tiyatrosu, and Oda Tiyatrosu. In 1978 theatre tours in Turkey started to be made to all the big cities, and they were continued regularly every season. The Istanbul city theatres were made into five separate divisions with regulations issued in 1976. Each division had a group art director affiliated to the general art director. Together with Tepebasi, Harbiye, Fatih, Kadiköy and Üsküdar city theatres, a traveling theatre group was formed. These divisions continued until 1980. However, many of the private theatres established after 1970 were not long lasting.( Elli Yilin Türk Tiyatrosu (Fifty Years of Turkish Theatre) Türkiye Is Bankasi Cultural Publications Istanbul 1973. )

        This period of time was the warning that alarmed the emergence of hardship and lack of quality in Turkish theatre, which continued up to now. These conditions have caused changes in people’s attributes towards theatre and have led conceptions such as that the state of Turkish theatre is like a comedy, every possible trick is played in order to get fund from the government, people who have no interest and education in theatre are made act merely because they are popular and even can take their all clothes off on the stage for the sake of attracting people to the theatre so as to fill the saloons. Moreover, due to financial problems in Turkish theatre stages began to be closed, actors and actresses had to make transitions from theatre to television mostly by acting in TV series

        However, how much of these conceptions are right? What are the underlying reasons responsible for current situation of Turkish theatre? And what do the people who devoted their lives to acting think about this subject?

           When some of the actors of TV series called ‘Bir Istanbul Masali’ came to our school for a conversation with students we noticed the complaints of Altan Erkekli, who is one of the most experienced actors of Turkish theatre, and lack of interest in his speech. Having been inspired by this and in order to find the most accurate answers to the questions above, we decided to interview experienced actors and actresses and later we agreed on interviewing Altan Erkekli, who works in private theatre, and Arsen Gürzap, in state theatre.

           As a consequence, we designed the questions to be asked in our interviews. These are:

Does the state have an art policy? If it has, what is it?

What can be done in order to make the theatres widespread in Anatolia?

 

What is the point of view of local administrations for the actors who came to their cities for tours?

Does the television steal actors and actresses from theatre?

 

What does acting in TV series make actors gain?

 

What does acting in TV series make actors lose?

 

 What is the difference between experienced actors and newly trained?

 

What do you think about the differences between the audience of today and past?

 

How do you evaluate the youth’s point of view about theater?

 

How do you comment on youth’s participating in theatre?

 

How much of your earnings do you spend on your job? If you wanted to draw a utopic theatre portrait in Turkey, how would your picture be?

 

Here are the short biography of Arsen Gürzap and the interview we made with her.

 

 

ARSEN GURZAP

She graduated from High Department of Theatre of Ankara State Conservatoire and started acting in Ankara State Theatre. In 1978, she was appointed to Istanbul State Theatre. She is still working in the same institution as an actress and as a director. In the State Theatre, in Istanbul City Theatre and in a private theatre called “Tiyatro Istanbul”, she took role in over sixty plays and worked as a director. One of the most significant things among her dreams is that she took part in the foundation of Department of Theatre in Mimar Sinan University State Conservatoire. Towards 1990, Arsen Gürzap took part as a promoter member in an association, which gives lectures about effective speaking and human relationships. She is now giving lectures in that association which has educated approximately 7500 people in 11 years. Arsen Gürzap gave many lectures about communication. Also, she made programs about these subjects in various television and radio channels. The book she wrote about Turkish phonetics will be published in the near future.

 

 

Does the state have an art policy? If it has, what is it?

 

Of course, it has. The state serves with state theatres in many cities by mediation of 32 state theatres.

 

How about the funds?

 

 I cannot say that they are very satisfactory compared to 10-15 years before. I do not know why, but when a deduction is to be done, it is first applied in the areas of culture and art. Yet, art needs financial support seriously, especially in our field.

 

What can be done in order to make the theatres widespread in Anatolia?

 

That can be achieved only by founding regional conservatories. I do not want to say the Turkish idiom “ Tasıma suyla değirmen dönmez.”, but I believe this is the exact idiom that explains the situation which is observed in Anatolia. Students educated in big cities are sent those places as actors and actresses. However, I hold the opinion that, when people see their educated relatives and neigbours there on the stage, it will be much more effective and local people will be more attracted to the theatre. Moreover, by this way, there will be an increase in the number of local writers in some regions. That is to say, in my opinion, the biggest and the most important key of spreading the art of theatre in Anatolia is “regional conservatories”. In Eskisehir and Antalya there had been such practices. Taking students from Antalya and later sending them there again was planned. Yet these practices did not have continuity.

 

What is the point of view of local administrations for the actors who came to their cities for tours?

 

I do not have a detailed idea about what local administrations do but I do know that Sivas was one of the difficult cities. Recently, state theatres have become more widespread compared to past years. By the way, I believe, the youngsters could make the public of Sivas accept them.

 

Does the television steal actors and actresses from theatre?

 

In everywhere in the world, it has stolen, and of course it steals. People prefer sitting in front of the television by zapping from one channel to another. What is more, especially in our country, which is not very much developed economically, while state and city theatres’ tickets are affordable, private theatres’ tickets are very expensive because they have no other choice for surviving. I am in State theatre, but as a guest actress I act in “Tiyatro Kedi” and I carry on a project in theatre in Eskisehir municipality.

 

 

 What does acting in TV series make actors gain?

 

Popularity, being known a little bit more...A myriad of private theatres have been opened until now, many people who have no idea about theatre are now acting in theatres. We see their advertisements continually in everywhere, so they are recognised. That is, popular people attract more viewers. It is very upsetting but what can we do?

 

 

 How does acting in TV series affect actors?

 

Taking role in many series may not be very nice, once in a role, then in another one? I cannot talk about this issue, because this is the first time I have been acting in   long-lasting series.

 
 
In which respects, the differences between experienced actors and the ones of new generation are noticed?  
 
There are indispensable characteristics of a theatre actor. He has to use his breath well, and consequently his voice well. A theatre actor has to make the audience hear every syllable of the words he says. He also has to use his body language very efficiently. All of these can only be gained by education and training himself. In my opinion, there are many differences between the new actors and the old ones, which mainly stem from these indispensable features.
 
 
 What do you think about the differences between the audience of today and the past?
 
Generally, since 1980, in Turkey, people have been able to reach everything, and money too, very easily. Then, the majority of the society began to prefer programs, which had no logical basis and never stimulated people to use their minds. As a consequence, they got accustomed to entertaining themselves by watching ridiculous and futile things. Therefore, comedy, which did not force individuals to have brainstorms, became the most popular branch of art. I do not look down on the comedy but it has some features to criticize. That is to say, when the audience get used to those, it may not be easy to attract audience with a serious play. I want to explain what I mean. Today, I can see this difference between these two generations. When they have a little difficulty in understanding, they immediately give up trying and they just mumble’s could not understand anything’. Actually, the meaning of I could not understand is that I do not want to use my mind and to compel myself.

 

 

How do you evaluate youth’s point of view about theatre?

 

 The young whom I know go to concerts, theatres, prefer the best films in cinemas, never miss festivals, read books, shortly sensible and aware. Therefore, it is really difficult to make a generalization, yet I cannot realize any serious lack of expressions of the young. I own a school where I give communication courses, including speaking Turkish effectively so I have the opportunity to observe the young in their environments. There I witness that some deficiency appears in their language. They are in an ordinary situation as though everybody resembles each other. To my way of thinking, no one can be successful in either his own work or in communication obviously in any field, without enriching himself. I think, it is necessary to make some effort and put young people into a certain discipline in that subject in order that they could gain this awareness

 

How do you comment on youth’s participating in theatre?

 

In some play we have lots of young audience while in some others a few. I am not hopeless by that respect but if you ask what they do in plays which may force their minds, that is which require thinking and comment; I can not say that I find the young’s goings-on very bright. 

 

How much of your earnings do you spend on your job?

 

What can I do, I do not own a theatre, and thus I cannot make any contributions to the production. The only thing I can do is to buy books and CDs, to make my music set more sophisticated by making arrangements, enriching my library. That is the expenditure I make for myself.

 

If you wanted to draw a utopic theatre portrait in Turkey, how would your picture be?

 

First of all, let me point out that I dream of things that are quite developed and complicated .Now, individuals on the stage seem to be the most important factors for a play. However, the use of technology plays an essential role in plays as much as actors do. I dream of productions in which both of these are combined. You can watch incredible shows abroad with this combination. Let me give you such an example: If you use 100-120 spotlights in a production in Turkey, that light is regarded as somewhat rich and bright .On the other hand, when I went to theatre in New York I was amazed and charmed very much due to the fact that everywhere (even the edges of balconies) was full of spotlights .I was able to count billion of them. I could not manage to count the rest. Therefore, I am saying again that the technique is of very much importance. It will be incredibly wonderful, if we are able to combine the technique and the high performance. Our entire wish is this, actually!

Some programs, let me give you such an example:

If you use 100-120 spotlights in a production in Turkey, that light is regarded as somewhat rich and bright light. On the other hand, when I went to theatre in New York, I was amazed and charmed very much due to the fact that everywhere (even the edges of balconies) was full of spotlights .I was able to count billion of them. I could not manage to count the rest. Therefore, I am saying again that the technique is of very much importance. It will be incredibly wonderful, if we are able to combine the technique and the high performance. Our entire wish is this, actually

 

Here are the short biography of Altan Erkekli and interview with him.

 

ALTAN ERKEKLI

 

He was born in Istanbul in 1955.In 1975 he entered the Department of the Theatre of Language, History and Geography Faculty. His art life started at Ankara Sanat Tiyatrosu in the same year. He became professional with Maksim Gorki’s play “The Mother”. Between the years of 1985 and 1989, he worked in state theatre and from 1989 to 2000, he worked in Ankara Sanat Tiyatrosu. In 1989 and 1996, he got the awards for the best actor of Art Association. Apart from his plays “Sakıncalı Piyade”,”Ne Oldu Sana”,”Galile”,”Rumuz Goncagül”,”Yer Demir Gök Bakır”,”Bir Ceza Avukatının Anıları”,”Kayıplar”,”Yaz Misafirleri”,”Inadına Yasamak” he acted in television and cinema works such as “Dolap Beygiri”,”Mavi Sürgün”,”Deniz Gurbetçileri” and “Kurtulus”. Between the years of 1994 and 2000,he gave acting courses at the Department of Acting in Language, History and Geography Faculty of Ankara University. In period of 1996-1997, he got the awards of Altan Erbulak and Theatre Critics’ Union. After leaving   Ankara Sanat Tiyatrosu and then joining in B.K.M. players, he got the “Golden Orange”, the award of the best male actor for his role in the film “Vizontele”, in Antalya (in the year of 2001). In the play “Sen Hiç Ağustos Böceği Gördün mü?”, he performed the role of Gürdal Tosun, who died in August 2000.He acted in the series of “Bir Demet Tiyatro” and he took role in the play ”Bana Bir Şeyhler Oluyor”.

 

How do you evaluate today’s youth point of view about art?

 

That is not individual’s blame. There was a quite striking event that influenced everything in the country called 1980. During 1980s, many progressive patriots died, some were injured and uttered misery in prison and were tortured. The life in the country was interrupted. Our country lived in a condition in which everything stopped, including culture and art. A project who is aim was to damage the interest of our country, was put into practice by foreign forces. As a consequence the goings on of every thing was disrupted. Individuals were got accustomed to selfishness; they played tricks for the sake of high ranks.

 

Education institutions have been the most important factors that have a significant impact on the future of youngsters. What made us actors was our literature teacher in high school, who took us to the theatre every day. Today, I am suspicious about whether teachers themselves go to the theatre or not.

While there were 36-37 theatres in Istanbul, the number of theatres, which opens act, is very few. Other factors preventing this are entrance of high technology to the country for watching purposes (home cinemas, DVD’s, VCD’s), admiration to American cinemas, presence of 10-15 cinema saloons in every shopping center while nobody even thinks of a theatre saloon and youth’s spending time only in entertainment places and cafes. For example, you are going to Migros; there is not even one theatre. If there were, perhaps you would wonder, “what it is like”, so you might go to a play at the third or fifth time you go there. For these reasons, the lack of interest of youngsters in theaters not because of some unforgivable mistakes of their owns but for some reasons which they can not help.

       As country, we are a very forgetful and unfaithful nation. The nations who do not lay claim to their pasts, of course cannot lay claim to their future, either. Therefore, although everybody comments on what is happening in the county, it is necessary to have a look towards inside of the country; everything is in a very bad condition inside, the generation which is to keep the country alive is in a very bad state.

         Such things as, how many people Fenerbahçe Stadium can accommodate, that Haliç’s water has been cleaned, and presence of buildings of every height you want to see, are of no importance.

 

 

 What is the point of view of local administrations about actors who come to their cities for their tours?

 

In past, it was necessary to get permission for tours not from local administrations but from the local police. According to the law of Turkish police, theatre actors were seen in the same status as the pub and bar workers. Theatre is an art which   changes life of people and causes discussions. It is   very upsetting to put an art, which can offer new life styles and changes people’s view of life into hours of time, in the same status with pubs and or bars. In past, policemen who worked to prevent terror used to come to the theatre in order to maintain security, this changed only two years ago. Although police cannot do anything when very bloody events occur in matches, such practices are observed in theatres. That   policy was applied in order to daunt people. Because theatres offer propositions directing towards life; that is to say, on stage people just like you show you things you have difficulty in realizing in daily life, explain the words you hear but cannot understand, express events and actions you have had difficulty in perceiving up to now, just like holding a mirror to you, in a moment you watch together with 300-500 people. You gain a different point of view   directing to your future and begin to ask questions concerning life. And this naturally discomforts and disturbs the dominant power. It puts a spoke in some in dialectic change of people in theatre. Since 1950, in Turkish politics theatre has been seen like a monster. They reached their goal very well; the number of theatres decreased day by day.

 

What are the reasons which make actors act in TV series?

 

They have no other choice for living comfortably. We cannot get the same pleasure of acting in theatre while acting in in TV series.  In theatre, when you begin acting on the stage after working with actor colleagues and directors for 45-60 days, you are completely independent nobody can intervene with your work. On the other hand, while monitoring the scenes of a TV series, you are under pressure all the time. As you are continuously told what to do, you can   concentrate on your work.

 

Do TV series make theatre actors lose anything from their acting abilities in theatre?

 

It depends on person’s will power. They don’t take anything away from ones who are experienced. Inexperienced actors may be charmed because acting in series is much easier and provides actor with popularity. However, a series is a matter of only 45 minutes and after it ends, the actor is forgetten, yet theatre is long lasting. An actor may act in order to have high standards of life, without leaving theatre.

 

Do private theatres have to agree with state policy?

 

No, as they are called ‘private’ they are different from state and funded theatres. You can do whatever you like and act however you like. Even though you are comfortable, you are being disturbed so that you cannot act. If police teams which are for fighting against terror come to the theatre, people will not be willing to send their children   to theatre for a second time; so you won’t be able to find any spectators. There is some support from government for private theatres, yet unfortunately that is in order to make civil government founded after 12 September seem nice and show that as though there is support for culture and art in this country.

 

How does the difference between new and old actors emerge?

 

Theatre is a branch of art, which can develop by relationship between the master and apprentice and in which you can increase your ability by experiences you obtain from your masters. If you cannot make yourself equipped for life, if you do not read book and periodicals, acting certainly cannot progress. This cannot be achieved by appearing on magazine programs. Theatre actors should be individuals who fascinate people to change in   thought and activity. New generation has not been able to get the education, ornamentation   and discipline we got; they will not be able to get, either. This life has seemed to be easy to them. Think once, Kerim Avşar was my master and that was a great opportunity for me. Now, young people are like leaves, which are, blown by different winds.

 

How can theatre make progress in Anatolia?

 

Initially, education, as in every field, is a very important factor in theatre, too. To be professional in theatre and make the viewers feel this professionalism and consequently to make this art’s value be realized better are only possible with education. Furthermore, it is a very important factor to increase the number of theatre saloons and tours related to this. Municipalities should be more sensitive about this subject. It is of course municipalities’ duty to build public gardens or to organize city’s infrastructure. However, it is also municipalities’ duty to found theatres. If all these factors are made come true, then there will be no reason to prevent theatre from developing and spreading in Anatolia, I believe.

 

What kind of differences do you think there are between the audience belonging to the young generation and the ones belonging to the previous generation?

 

In past, people used to wear their cleanest and smartest dresses when coming to saloons. We cannot expect this any longer, of course. Certainly, the absence of this is very normal in people who try to reach their destinations where they could go in 10 minutes in past, in an hour now. The issue of going to the theatre disappears in the chaos of life; people feel obliged to go to the theatre merely because a ticket has been bought for a play.

 

 

What do you think about the effects of technological development on theatre?

Of course, they have. There was a play abroad in which a huge chandelier fell down from the ceiling to the center of the salon and the audience was extremely excited. When such visual effects are used, people will feel excitement and tell their neighbors, their friends and relatives about it, consequently participants in theatre will naturally increase. Wonderful effects are used in cinemas. Using technology in theatre is very necessary in order to attract cinema viewer to theatre .The Mediterranean culture and the variableness and extensive sentimentality which remained from nomadic provide Turkish theatre with a high sentiment potential. If this potential is combined with high technology used in Europe, I am sure that our theatre will reach to a very important   status.

 

 

If you want to draw a utopic theatre portrait in Turkey, how   would your picture be?

 

I wish for a country in which everybody lives in peace, where there is no infraction of human rights, where art facilities are widespread and art reaches even the most remote areas, and people of which are brought up with arts.

      Fenerbahçe Stadium, shopping centers such as Akmerkez, double highways do not have a significance, before these, the necessary importance should be given to the people who will get benefit from these all. Children should not starve to death; People should be able to express their ideas freely and frankly. The fact is   that every beautiful thing is for humankind, this should not be forgotten!!!

 

 

       As we look through the interviews we have noticed a myriad of differences between the perspectives of two experienced artists together with some similarities.

 

        Generally, we see that unlike Altan Erkekli, Arsen Gürzap has a more optimistic point of view. Although Altan Erkekli holds the opinion that there is almost no hope for the future of theatre, Arsen Gürzap is hopeful about that matter. Similarly their opinions about young generation’s attitude towards theatre are the same as their opinions about future of theatre. Whereas Altan Erkekli defend the idea that young generation is indifferent to art thanks to goings on of the current political system, Arsen Gürzap opposes this by saying that youngsters whom she knows are quite interested in every kind of cultural activities.

Furthermore, there is a considerable difference between their perspectives about the policy of the government and local administrations towards the arts. While Altan Erkekli finds government preventive, Arsen Gürzap thinks that the goverment advocates the arts. According to him local administrations impede the development of theatre in Anatolia by sending security force to sustain the safety and by oppressing the spectators through monitoring them. On the other hand, A.Gürzap cannot evaluate this issue because of the fact that she is an actress in state theatre and the government appoints her to current position. That is why she has had no difficulty during her tours. Their suggestions to how theatres can be spread over Anatolia are dissimilar in that A.Erkekli claims that the number of theatre saloons and tours should be increased and municipalities should support them whereas A.Gürzap assert that the only solution to that problem is founding regional conservatories.

What is more, as A.Erkekli regards gained experience from masters as an essential basis of the development of an actor, education is more important than experience for A.Gürzap.

On the whole, both of them hold external factors rather than youngsters responsible for the terrible goings of Turkish theatre today. However, the factors that they consider as external differ a little. While A.Erkekli regards educators who nowadays do not try to make their students’ interests in theatre increase, the policy of the governments (since 1980s) and local administrators’ attitude towards theatre as the impedements to the development of theatre, A.Gürzap holds the high price of theatre tickets and youngsters’ habit- that is, if there is a small constraint they immediately give up and never want to force themselves to use their minds- which emerge due to the system, responsible for the obstacle to the development of theatre.

As far as we consider these remarkable differences between the points of views of these two artists, we cannot help thinking that there must be some reasons which lead to these differences. As the main factor we assume that this is the matter of the differences between state and private theatres. As mentioned above A.Erkekli works in private theatre whereas A.Gürzap acts in state theatre. In addition to that their financial conditions are very different from eachother. As A.Erkekli said he does not have even a house. On the other hand, A.Gürzap owns a school.

There are not only differences but also some similarities in their way of thinking.

First of all, both of them complain about that productions in Turkey do not give enough importance to the use of technology in plays. Similar to A.Gürzap, A.Erkekli holds the idea that if advanced technology is used in plays together with intensive sentimentality, Turkish theatre will make great progress. Apart from this, they think that the funds that the government allocates for the arts are quite inadequate. They have ideas in common about the influence of acting in tv series on theatre actors. They both consider acting in TV series as the only way for the actors to earn money in order to have high standards of life. This parallelism stems from the fact that they are able to analyze current problems of theatre thanks to their deep knowledge and years of experience in theatre.

 

As A.Erkekli points out that “Theatre is an art which changes peoples lives and brings about different points of views towards life”, it is like a mirror which reflects the images that we find difficult to notice. It shows us the realities of life, which are not so easy to realize without a deep inside. As theatre offers different options for life it also has a great impact on social development by contributing a great deal to individual development.

       In spite of all these, theatre is an art, which gets little attention from people. It has a number of   problems, which are getting worse day by day. It is especially upsetting that young generation is so indifferent to such an important art branch. It is essential that we, as young generation must pay much more attention to this issue because we are the ones who are to carry our country to the future world. This lack of interest in art, especially in theatre, triggers pessimism and weakens our hopes for a better future.

      When we consider all these, we realize that   education is a must. Young people should be given the necessary education in an effective way for the continuity and development of this art. In order to find solution to the problems of theatre, some cautions must be taken to render the awareness of youngsters. This can only be realized with the help educators, the media and the government For instance, we are sure that, if there are some activities about theatre that appeal to students, particularly younger ones, the admiration of the society will gradually increase. The same outcome can be observed if the media, especially the TV, supports the productions in the theatre. The most striking example was that in previous years, the theatre series (Bir Demet Tiyatro and the series of Nejat Uygur) were broadcast on TV and became the most popular programs.

       In addition to all these, government should immediately revise his policy on art. More funds should be allocated to theatre. Regional conservatoires should be founded in Anatolia in order to make it commonplace. Technical facilities and the conditions at theatre saloons should be improved.

       To sum up, with this research project we have wanted to draw your attention to the situation which Turkish theatre is in today. We will be glad if we have been able to drift you into wondering about, even a bit, the future of Turkish theatre.

 

 

 

 

Bibliography and References

-AND Metin Geleneksel Türk Tiyatrosu (Traditional Turkish Theatre) Bilgi Yayinevi Bilgi Publishing House Ankara, May 1969.

Elli Yilin Türk Tiyatrosu (Fifty Years of Turkish Theatre) Türkiye Is Bankasi Cultural Publications Istanbul 1973.

-Tiyatro Kilavuzu (Directory of the Theatre) Milliyet Publications, July 1973.

-Türk Tiyatrosunun Evreleri (Phases of Turkish Theatre) Turhan  Publications Ankara 1983.

-SENER, Sevda Çagdas Türk Tiyatrosunda Ahlak, Ekonomi, Kültür Sorunlari, (Problems of Ethics, Economy and Culture in Contemporary Turkish Theatre) University of Ankara, Faculty of Letters Publications, 1971.

-Çagdas Türk Tiyatrosunda Insan (The Human Element in Contemporary Turkish Theatre) University of Ankara, Faculty of Letters Publications, 1972.