Akademik Veri Yönetim Sistemi
Yegah Musicology Journal, cilt.8, sa.1, ss.748-776, 2025 (Scopus)
In parallel with the wars, socio-economic crises in the 20th century, a process of introspection also began in the theatre. By the mid-century, theatrical theories that advocated a return to theatre’s intrinsic sources, such as rituals and traditional elements emerged. This article examines how theatre, while returning to its own fundamental resources, draws upon rituals and various traditional elements such as music and dance, focusing on the period from the second quarter of the 20th century to the early 21st century.The study is conducted within the framework of Western theatre practitioners' approaches to Eastern culture and Turkish theatre practitioners' approaches to Anatolian culture. First, the artistic perspectives of Western theatre pioneers such as Artaud, Grotowski, Brook, Barba who advocated a return to traditional sources in theatre are examined, along with their utilization of traditional Eastern sources. Subsequently, the use of traditional plays, music, and dance, as well as other cultural elements shaping Anatolian heritage in Turkish theatre, is analyzed primarily through the works of Baltacıoğlu and And. Finally, a comparative evaluation is made between the experiences of Western and Turkish theatre in utilizing traditional sources. It has been determined that Western theatre, in utilizing traditional sources, has incorporated Eastern philosophy and technical structures to create an intercultural framework, developing original methods in acting and staging through traditional music and dance. Turkish theatre has largely replicated traditional sources in their original forms. The study emphasizes the necessity of reinterpreting traditional dramatic forms in a contemporary manner and conducting experimental research on cultural elements. To achieve this, it is recommended that theatre practitioners collaborate with musicologists and choreographers while seeking support from social science researchers.