Sabri Koz, who hasĮdited the exhibition book and is the exhibition consultant. "There are various theories about the shadow play's Voices) often experts on the multitudinous dialects of the city's To the comedy, with Karagoz performers (the puppeteer would also do the The vast patchwork ofĪccents and dialects available for mimickery when the Ottoman Empire wasĪt its height-and Istanbul was the Imperial capital-also lends greatly Wordplay, especially puns and double entendre. More than a dozen basic plots-thin that framework, there is a greatĭeal of creative possibility. Karagoz plays usually hold to a rigid structure-and revolve around no A screen-usually a sheet ofĬloth-would be placed between the puppeteer and the audience, andīack-lighting would titan cast the coloured shadows of the puppets onto Then be attached to a stick, which the puppeteer would manipulate to Of the figures and painted using vegetable dyes. With hide, this thin, translucent material would be cut into the forms The puppets were traditionally made from animal hide-oftenĬamel-though in later periods, leather and cardboard were also used. Shadow puppets front the archives of Yapi Kredi Kultur Sanat, the Helping considerably with this is a collection of Karagoz Screen, the Stage all in Ruins tells the story of Karagoz from first to Featuring videos, discussion forums and anĮxcellently produced guide, Torn is the Curtain, Shattered is the Now, this old and venerable art form has become the subject of a The stories are of jealousyĪnd unhappy love, money problems and too many late nights at the local Vendors, gypsies, travellers and traders from Persia, Arabia, Africa andĮurope, Greeks and Jews, slaves and drunks. We see the circumcisionist, beggars, street Popular culture, and therefore filled with the people and dilemmas of The Ottoman Empire, of an all but vanished world. Through their names and professions is like reading a social history of That surrounds Karagoz's passage through the world.Īlongside them stand a whole host of other characters. Read, if a little pretentious, and reluctantly dragged into the chaos Karagoz is the common man-sincere and down-to-earth, speaking his Its central stars were Karagoz himself, and Hacivat, ![]() Of Ottoman popular culture a people's art on show in theĮmpire's coffee houses, from Sarajevo to Baghdad and from theĬaucasus to Cairo. Literally meaning 'dark eye', for centuries its ribald subject matter, street wit and irreverent humour were a fundamental part Travel back a century,Īnd this would have been the prelude to one of the most popular forms ofĮntertainment in the Ottoman Empire: The shadow-puppet play Karagoz. When the lights go out and the curtain screen begins to glow, onĬome the first characters, and the music begins. THE POEM OF THE CURTAIN, from the Karagoz play, The Muddleheaded APA style: The shadow puppetry of Karagoz.The shadow puppetry of Karagoz." Retrieved from MLA style: "The shadow puppetry of Karagoz." The Free Library.
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