![]() Puppeteers usually worked from scenarios rather than finished scripts so that they could adapt storylines according to the audience. Audiences were varied - from royalty to middle class families to uneducated workers. ![]() This was the beginning of the Karagoz puppet tradition.įrom the 17th century through to the first decade of the 20th century, Karagoz - Karaghiozis in Greece - became the leading player in the shadow theatres of the regions. He regretted his decision and a Turkish puppet master made shadow figures of Karagoz and Hacivad and his performance imitated the voices and mannerisms of the workmen and delighted the sultan. Their continual comic arguments on a mosque construction site halted work and the enraged sultan ordered their execution. Within the framework of that diverse society, Karaghiozis stopped being exclusively Turkish and became transnational and multilingual and was instrumental in keeping languages, folklore and cultural traditions alive as artistic traditions became increasing lost and suppressed.Īccording to popular legend the two principal characters were modelled on two Turkish labourers, Karagoz and Hacivad, who lived during the 14th century. Turkish shadow puppet theatre was part of the artistic tradition of the diverse cultures of the Ottoman Empire, including people of Greek, Jewish, Albanian, Turkish and Arabic backgrounds. As the Ottoman Empire grew, the tradition spread, evolving and adapting according to local customs, languages and stories. There are different schools of thought as to whether shadow puppet theatre developed from the similar but older traditions in Indonesia, China and India or from a new form evolving in Egypt, Asia Minor and North Africa during the 11th and 12th centuries.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |