İngilizce Hacivat Karagöz diyalogları
Karagöz (meaning blackeye in Turkish) and Hacivat (also written Hacivad) are the lead characters of the traditional Turkish shadow play popularized during the OttomanOttoman Turkish and using a poetical and literary language. Karagöz's native wit always gets the better of Hacivat's learning (but his money-making ventures always fail). period. The central theme of the plays are the contrasting interaction between the two main characters: Karagöz represents the illiterate but straightforward public whereas Hacivat belongs to the educated class speaking
Karagöz-Hacivat plays are especially associated with Ramadan. Until the rise of radio and film it was one of the most popular forms of entertainment in Turkey. It survives today mainly in a toned-down form intended for audiences of children.
When the plays were first performed is unclear. Some believe that the first Karagöz-Hacivat play was performed for sultan Selim I (reigned 1512–1520) in Egypt after his conquest of the Memluks but 17th century writer Evliya Çelebi stated that it had been performed in the Ottoman palace as early as the reign of Bayezid I (reigned 1389–1402). In the 16th century Ottoman Grand Mufti Mehmet Ebussuud el-İmadi issued a celebrated opinion allowing the performance of Karagöz plays.
Karagöz and Hacivat themselves are supposedly modeled on two laborers whose banter entertained their co-workers (and slowed down the work) during the construction of a mosque in Bursa during the reign of Orhan I (who ruled the nascent Ottoman Empire 1326–1359). They were executed for the resulting delay of the work but became folk heroes. One version of the legend says that a contemporary of theirs one Şeyh Küşteri made camel-hide puppets of them and began to perform plays.
Karagöz can be deceitful lewd and even violent. Other characters in these plays are the drunkard Tuzsuz Deli Bekir with his wine bottle the long-necked Uzun Efe the opium addict Kanbur Tiryaki with his pipe Altı Kariş Beberuhi (an eccentric dwarf) the half-wit Denyo the spendthrift Civan and Nigâr a flirtatious woman. There may also be dancers and djinns and various portrayals of non-Turks: an Arab who knows no Turkish (typically a beggar or sweet-seller) a black servant woman a Circassian servant girl an Albanian security guard a Greek (usually a doctor) an Armenian (usually a footman or money-changer) a Jew (usually a goldsmith or scrap-dealer) a Laz (usually a boatman) or a Persian (who recites poetry with an Azeri accent).
Karagöz plays are structured in four parts:
* Mukaddime: Introduction. Hacivat sings a semai (different at each performance) recites a prayer and indicates that he is looking for his friend Karagöz whom he beckons to the scene with a speech that always ends "Yar bana bir eğlence" ("Oh for some amusement"). Karagöz enters from the opposite side.
*
* Muhavere: dialogue between Karagöz and Hacivat
*
* Fasil: main plot
*
* Bitiş: Conclusion always a short argument between Karagöz and Hacivat always ending with Hacivat yelling at Karagöz that he has "ruined" whatever matter was at hand and has "brought the curtain down" and Karagöz replying "May my transgressions be forgiven
Karagöz (meaning blackeye in Turkish) and Hacivat (also written Hacivad) are the lead characters of the traditional Turkish shadow play popularized during the OttomanOttoman Turkish and using a poetical and literary language. Karagöz's native wit always gets the better of Hacivat's learning (but his money-making ventures always fail). period. The central theme of the plays are the contrasting interaction between the two main characters: Karagöz represents the illiterate but straightforward public whereas Hacivat belongs to the educated class speaking
Karagöz-Hacivat plays are especially associated with Ramadan. Until the rise of radio and film it was one of the most popular forms of entertainment in Turkey. It survives today mainly in a toned-down form intended for audiences of children.
When the plays were first performed is unclear. Some believe that the first Karagöz-Hacivat play was performed for sultan Selim I (reigned 1512–1520) in Egypt after his conquest of the Memluks but 17th century writer Evliya Çelebi stated that it had been performed in the Ottoman palace as early as the reign of Bayezid I (reigned 1389–1402). In the 16th century Ottoman Grand Mufti Mehmet Ebussuud el-İmadi issued a celebrated opinion allowing the performance of Karagöz plays.
Karagöz and Hacivat themselves are supposedly modeled on two laborers whose banter entertained their co-workers (and slowed down the work) during the construction of a mosque in Bursa during the reign of Orhan I (who ruled the nascent Ottoman Empire 1326–1359). They were executed for the resulting delay of the work but became folk heroes. One version of the legend says that a contemporary of theirs one Şeyh Küşteri made camel-hide puppets of them and began to perform plays.
Karagöz can be deceitful lewd and even violent. Other characters in these plays are the drunkard Tuzsuz Deli Bekir with his wine bottle the long-necked Uzun Efe the opium addict Kanbur Tiryaki with his pipe Altı Kariş Beberuhi (an eccentric dwarf) the half-wit Denyo the spendthrift Civan and Nigâr a flirtatious woman. There may also be dancers and djinns and various portrayals of non-Turks: an Arab who knows no Turkish (typically a beggar or sweet-seller) a black servant woman a Circassian servant girl an Albanian security guard a Greek (usually a doctor) an Armenian (usually a footman or money-changer) a Jew (usually a goldsmith or scrap-dealer) a Laz (usually a boatman) or a Persian (who recites poetry with an Azeri accent).
Karagöz plays are structured in four parts:
* Mukaddime: Introduction. Hacivat sings a semai (different at each performance) recites a prayer and indicates that he is looking for his friend Karagöz whom he beckons to the scene with a speech that always ends "Yar bana bir eğlence" ("Oh for some amusement"). Karagöz enters from the opposite side.
*
* Muhavere: dialogue between Karagöz and Hacivat
*
* Fasil: main plot
*
* Bitiş: Conclusion always a short argument between Karagöz and Hacivat always ending with Hacivat yelling at Karagöz that he has "ruined" whatever matter was at hand and has "brought the curtain down" and Karagöz replying "May my transgressions be forgiven
