"Hamlet" in Contemporary Turkey: Towards Postcolonial Feminist Rewrites?

Abstract

dictionary definition of adaptation is make which implies an intercultural or intergeneric transfer. In Linda Hutcheon's (8) words, The adapted text is an acknowledged transposition of a recognizable work in a process of creation and reception, which involves difference and repetition (114). According to Geoffrey Wagner (20-21), adaptation can be examined in three categories, namely transposition, commentary and analogue. Drawing on above mentioned arguments, it can be suggested that process of adaptation requires an intentional dialogue with another text as well as new interpretive contributions. In this respect adaptation aims at making adapted text, which is similar and dissimilar to interests of target reader or audience, thoroughly suitable to newly introduced context. Adaptation inevitably becomes a chaotic process for readers and audiences, and can be considered as hybrid in postcolonial sense that Homi K. Bhabha (2) uses in Location of Culture as the one and Other both while at same time neither One nor Other. purpose of this study is to examine transformation of readings of Hamlet given context of contemporary Turkey. This study draws on Homi K. Bhabha's (5) concept of hybridity which reflects on cultural anxieties in Turkey, always at crossroads of an important cultural encounter between Western and Eastern cultural identities.The history of adaptation in Turkish literary history dates back to mid nineteenth century, to a specific period called Tanzimat (1839-1876), during reign of Ottoman sultans Mahmut II and Abdulmecit I. Tanzimat, English word connotation of which is reorganization, is usually received as a period of Westernization in Turkish history, followed by first constitutional period. Tracing Turkish literary background, one can argue that from Tanzimat Period onwards, adapting a Western source text to Turkish audience has become a problematic issue, manipulated by ongoing political debate of Westernization versus Easternization. Following Ahmet Vefik Pa§a's adaptations of Moliere, Shakespearean plays, especially tragedies, started to be adapted to Turkish stage in mid 1800s. Turkish literary scholar inci Engunun (251) traces reason why Shakespeare was introduced to Ottoman Empire two centuries later than it was in Europe to dominance of islamic tradition on national literature. It is noteworthy that Turkish audience's encounter with Shakespearean tragedies corresponds to Westernization discourses during Ottoman Empire.Sources suggest that Turkish audience's initial recognition of Shakespeare was in 1867, as MacBeth was staged by Naum Theatre Company in Armanian, followed by their further performances in istanbul and izmir. next Shakespearean play to be staged in Ottoman theatre was another tragedy, Othello, which was performed by Greek originated actor Soutsas and his company. It is recorded that a noteworthy number of French translations of Shakespeare including Comedy of Errors, Two Gentlemen of Verona, Merchant of Venice and Richard III were published in istanbul in 1874. first Turkish translation of a Shakespearean play, source text of which was French writer Ducis's adaptation, unfortunately included no references to Shakespeare. It was first published in 1876 and staged many years as a play by Ducis. Hasan Sirri's translation of Merchant of Venice in 1884 is thus noteworthy as first Turkish translation of a Shakespearean play as a play by Shakespeare. King Lear, Othello, Hamlet, Macbeth and Romeo and Juliet were staged many times by different theatre companies during Ottomans.It is quite remarkable that during Tanzimat, Shakespearean tragedies were more welcomed on Turkish stage while there is little trace of performance concerning Shakespearean comedies and history plays with exception of Merchant of Venice. …