<\/p>\n\n\n\n
\u201c YAR BANA B\u0130R E\u011eLENCE MEDET \u201c<\/u><\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n ERTAN \u00dcNAL<\/strong><\/p>\n\n\n\n Temmuz 2009<\/em><\/p>\n\n\n\n <\/p>\n\n\n\n Geliniz, Bilgisayar \u00e7a\u011f\u0131n\u0131 geride b\u0131rakal\u0131m, sizinle zaman t\u00fcnelinden ge\u00e7ip Eski \u015eehzadeba\u015f\u0131\u2019na gidelim. \u0130\u015fte geldik bile\u2026 \u015eans\u0131m\u0131za toplumsal hayat\u0131n daha canl\u0131 oldu\u011fu bir yaz ramazan\u0131na d\u00fc\u015fm\u00fc\u015f\u00fcz. Direkleraras\u0131 y\u00fck\u00fcn\u00fc \u00e7oktan alm\u0131\u015f. Kad\u0131nl\u0131, erkekli kalabal\u0131k mah\u015fer gibi. Bu kalabal\u0131kta kimseye \u00e7arpman\u0131n y\u00fcr\u00fcmenin imkan\u0131 yok. \u00d6n\u00fcnde durdu\u011fumuz yere bak\u0131yoruz. Buras\u0131 me\u015fhur Fevziye K\u0131raathanesi. D\u00f6nemin \u00fcnl\u00fc ki\u015filerinin, musiki\u015finaslar\u0131n, aralar\u0131nda Ahmet Rasim\u2019in de bulundu\u011fu \u00fcnl\u00fc yazarlar\u0131n devam etti\u011fi, \u00e7ay\u0131n\u0131n g\u00fczelli\u011fi ile tan\u0131nm\u0131\u015f yer. Bu gece burada T\u00fcrk G\u00f6lge oyununun simgesi Karag\u00f6z var. Hayali ya da Hayalbaz Salih Efendi, Karag\u00f6z\u2019\u00fcn A\u011fal\u0131\u011f\u0131, oyununu oynatacak. Kalabal\u0131kta g\u00fc\u00e7bela bir yer bulup oturuyoruz.<\/p>\n\n\n\n <\/p>\n\n\n\n Efsane mi ger\u00e7ek mi ?<\/u><\/strong><\/p>\n\n\n\n Bilenler bilir ama biz \u00f6zellikle gen\u00e7ler i\u00e7in Karag\u00f6z oyununun nas\u0131l do\u011fdu\u011funu k\u0131saca anlatal\u0131m. Bu konuda en yayg\u0131n olan inan\u0131\u015fa g\u00f6re Karag\u00f6z\u2019\u00fcn do\u011fum yeri Bursa\u2019d\u0131r. Efsaneye g\u00f6re 1326-1360 y\u0131llar\u0131 aras\u0131nda tahtta bulunan Sultan Orhan\u2019\u0131n yapt\u0131rd\u0131\u011f\u0131 cami in\u015faat\u0131nda duvarc\u0131 olarak \u00e7al\u0131\u015fan Hac\u0131 Evhad ( Zaman i\u00e7inde Hacivat ) kalfa ile demircilik yapan Karag\u00f6z, ne zaman kar\u015f\u0131la\u015fsalar konu\u015fmalar\u0131 t\u00fcm i\u015f\u00e7ileri etkiler, i\u015fi b\u0131rak\u0131p kahkahalar aras\u0131nda onlar\u0131 dinlemeye ba\u015flarlard\u0131. Gel zaman, git zaman Camiinin in\u015faat\u0131n\u0131n bir t\u00fcrl\u00fc ilerlemedi\u011fini g\u00f6ren Sultan Orhan, in\u015faata nezaret eden ve nakka\u015fl\u0131k yapan \u015eeyh K\u00fc\u015fteri\u2019ye bunun nedenini sordu. K\u00fc\u015fteri \u201c Padi\u015fah\u0131n burada Karag\u00f6z\u2019le Hac\u0131 Evhad ad\u0131nda iki i\u015f\u00e7i var. Bunlar birbirleriyle g\u00f6r\u00fc\u015f\u00fcyorlar, konu\u015fuyorlar. Ger\u00e7i kendileri \u00e7al\u0131\u015f\u0131yor ama di\u011fer i\u015f\u00e7iler, onlar\u0131 dinliyor, onlara bak\u0131yor. \u0130\u015fler bu y\u00fczden geri kal\u0131yor \u201c deyince olanlar oldu. Camiinin in\u015faat\u0131n\u0131n kendisi sa\u011f iken bitirilmesini isteyen Sultan Orhan bir anl\u0131k \u00f6fkesine kap\u0131l\u0131p ikisini de ba\u015flar\u0131n\u0131 vurdurtarak \u00f6ld\u00fcrtt\u00fc. Ancak k\u0131sa bir s\u00fcre sonra bu yapt\u0131\u011f\u0131na pi\u015fman oldu. Ama ne \u00e7are ki \u00f6lenler geri gelmiyordu. \u00dcstelik Cami in\u015faat\u0131 da yine y\u00fcr\u00fcm\u00fcyordu. \u015eeyh K\u00fc\u015fteri\u2019ye bunun nedenini sordu\u011fu zaman \u015fu cevab\u0131 ald\u0131:<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c Padi\u015fah\u0131m burada \u00e7al\u0131\u015fan i\u015f\u00e7iler Karag\u00f6z\u2019le Hacivat\u2019\u0131 \u00e7ok severlerdi. Geceleri toplan\u0131p onlar\u0131 dinler, n\u00fcktelerinden zevk al\u0131rlar idi. B\u00f6ylece \u00e7al\u0131\u015fma kudretleri artard\u0131. Ama \u015fimdi, onlar\u0131n \u00f6l\u00fcm\u00fcyle \u00e7ok m\u00fcteessir oldular\u201d<\/p>\n\n\n\n <\/p>\n\n\n\n Sultan Orhan yapt\u0131\u011f\u0131 hatan\u0131n b\u00fcy\u00fckl\u00fc\u011f\u00fcn\u00fc bir kez daha anlam\u0131\u015ft\u0131. Bu y\u00fczden \u201c Sen ne yap, et bunlar\u0131n hevesle \u015fu i\u015fe koyulmalar\u0131n\u0131 sa\u011fla \u201c buyru\u011funu verdi. Bu buyruk \u00fczerine K\u00fc\u015fteri, bir rivayete g\u00f6re Karag\u00f6z\u2019le Hac\u0131vat tasvirini yap\u0131p, bir rivayete g\u00f6re de \u00e7ar\u0131klar\u0131n\u0131 al\u0131p perdenin arkas\u0131ndan i\u015f\u00e7ilere oynatt\u0131 ve Karag\u00f6z oyunu b\u00f6ylece do\u011fdu.<\/p>\n\n\n\n <\/p>\n\n\n\n Bir ba\u015fka kayna\u011fa g\u00f6re de \u015eeyh K\u00fc\u015fteri, bu oyunu \u00fczg\u00fcn Padi\u015fah\u0131 biraz olsun teselli edebilmek i\u00e7in onun huzurunda oynatm\u0131\u015f, Sultan oyunu izledikten sonra \u201c Osmanl\u0131 Padi\u015fahl\u0131\u011f\u0131 ilanihaye s\u00fcrd\u00fc\u011f\u00fc taktirde bunlar\u0131n oyunu yasak edilmesin \u201c buyru\u011funu vermi\u015fti.<\/p>\n\n\n\n <\/p>\n\n\n\n ZOR SANAT<\/u><\/strong><\/p>\n\n\n\n Daha sonraki y\u0131llarda Karag\u00f6z, \u0130mparatorlu\u011fun \u00e7e\u015fitli \u015fehirlerine yay\u0131larak yayg\u0131nla\u015fm\u0131\u015ft\u0131. Toplumun inan\u00e7lar\u0131n\u0131, d\u00fc\u015f\u00fcncelerini, t\u00f6relerini perdeye yans\u0131tan, kimi zaman aralar\u0131nda Padi\u015fahlar\u0131n da bulundu\u011fu y\u00f6neticileri hicveden Karag\u00f6z oyunu, halk aras\u0131nda oldu\u011fu kadar Saraylarda, \u015eehzadelerin s\u00fcnnet d\u00fc\u011f\u00fcnlerinde de oynat\u0131lmaya ba\u015fland\u0131. \u201c Hayalci\u201d, \u201c Hayalbaz\u201d, \u201chayali\u201d adlar\u0131 verilen Karag\u00f6z oynat\u0131c\u0131lar\u0131 bunu bir sanat haline getirirken s\u00fcrekli yenilikler de yapm\u0131\u015flar, b\u00f6ylece oyunlar\u0131 zenginle\u015ftirmi\u015flerdi. Son d\u00f6nemin \u00fcnl\u00fc Karag\u00f6zc\u00fcleri aras\u0131nda Hayali Hamit, Hayali Berber Sait Efendi, R\u0131za Efendi, Mehmet Efendi, Enderunlu Hakk\u0131 Bey, Katip Mahmut, Katip Salih Efendi\u2019ler bulunmaktayd\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n Karag\u00f6z oynatmak kolay ve her babayi\u011fidin harc\u0131 bir i\u015f de\u011fildi. Bir kere Karag\u00f6zc\u00fc\u2019n\u00fcn okumu\u015f olmas\u0131, musiki bilgisinin bulunmas\u0131, sesinin g\u00fczel olmas\u0131, \u00e7e\u015fitli \u015five ve leh\u00e7eleri taklit edecek yetenek sahibi olmas\u0131 gerekiyordu. Bunlar da iki b\u00f6l\u00fcme ayr\u0131lmaktayd\u0131. Bir b\u00f6l\u00fcm\u00fc ramazan gecelerinde kahve kahve dola\u015f\u0131p her gece bir ba\u015fka yerde hayal perdesini kurup, halk i\u00e7in halk oyunlar\u0131 sergilerlerdi. Saray\u2019da Padi\u015fah huzurunda, Zengin konaklar\u0131nda g\u00f6steri yapanlar ise art\u0131k \u00fcstat d\u00fczeyine ula\u015fm\u0131\u015f ki\u015filerdi. Bunlar daha \u00e7ok geleneklere, g\u00f6reneklere dayal\u0131, tasavvufi oyunlar oynat\u0131r, oyun s\u0131ras\u0131nda Padi\u015fah\u0131, ya da ev sahibini k\u0131zd\u0131racak n\u00fcktelerden ka\u00e7\u0131rmaya dikkat ederlerdi.<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c Yar bana bir e\u011flence, medet \u201c<\/u><\/strong><\/p>\n\n\n\n Karag\u00f6z\u2019\u00fcn tarih\u00e7esini k\u0131saca anlatt\u0131ktan sonra biz yine Fevziye K\u0131raathanesindeki yerimize d\u00f6nelim. \u0130\u015fte, perdenin \u00f6n\u00fcndeki, \u00fczerinde ba\u011f, bah\u00e7e, \u00e7i\u00e7ek vs. g\u00f6r\u00fcnt\u00fclerinin bulundu\u011fu mu\u015famba yava\u015f yava\u015f kalk\u0131yor.-T\u0131pk\u0131 sinemada perdenin a\u00e7\u0131l\u0131\u015f\u0131 gibi \u2013 \u00d6nce Hacivat, \u2018 Perde gazeli \u2018 ad\u0131 verilen gazeli s\u00f6yleyerek ortaya \u00e7\u0131k\u0131yor. \u201c Haaay Hak. Yar bana bir e\u011flence medet\u2026 \u201c Karag\u00f6z, onun perde gazelinin bitmesinden sonra \u015eano\u2019nun \u2013 Perdenin ad\u0131 \u2013 sa\u011f \u00fcst k\u00f6\u015fesinden ba\u015f\u0131n\u0131 uzat\u0131yor. \u201c Patlama geliyorum. \u201c diyerek yere iniyor ve izleyicileri kahkahalara bo\u011facak olan konu\u015fma ba\u015fl\u0131yor:<\/p>\n\n\n\n Hac\u0131vat \u2013 Hem yeni serpu\u015fumu ( \u015fapkam\u0131 ) g\u00f6stereyim, hem karag\u00f6z\u00fcme u\u011frayay\u0131m demi\u015ftim<\/p>\n\n\n\n Karag\u00f6z \u2013 Ne yapay\u0131m? Ne olacak ?<\/p>\n\n\n\n Hacivat \u2013 Can\u0131m Efendim, bir serpu\u015f ald\u0131m da.<\/p>\n\n\n\n Karag\u00f6z \u2013 Sarho\u015f oldunsa bana ne ulan?<\/p>\n\n\n\n Hacivat \u2013 Sarho\u015f de\u011fil, serpu\u015f serpu\u015f.<\/p>\n\n\n\n Karag\u00f6z \u2013 \u0130yi ya bana ne?<\/p>\n\n\n\n Hacivat \u2013 Can\u0131m Karag\u00f6z\u00fcm, \u00f6yle mi derler ya?<\/p>\n\n\n\n Karag\u00f6z \u2013 Ya nas\u0131l derler?<\/p>\n\n\n\n Hacivat – G\u00fcle g\u00fcle giy. Ba\u015f\u0131nda paralans\u0131n derler.<\/p>\n\n\n\n Karag\u00f6z \u2013 Peki ba\u015f\u0131nda paralans\u0131n.<\/p>\n\n\n\n Hacivat \u2013 Sonra efendime s\u00f6yleyeyim, oduncuya u\u011frad\u0131m, birka\u00e7 \u00e7eki odun ald\u0131m.<\/p>\n\n\n\n Karag\u00f6z \u2013 Ba\u015f\u0131nda paralans\u0131n, ba\u015f\u0131nda paralans\u0131n!<\/p>\n\n\n\n Hacivat \u2013 Ayol bu serpu\u015f de\u011fil ki odun. G\u00fcle g\u00fcle yak, otur da keyfine bak denir.<\/p>\n\n\n\n Karag\u00f6z \u2013 g\u00fcle g\u00fcle yak, otur da keyfine bak.<\/p>\n\n\n\n Hacivat \u2013 Derken efendim yolda Hasan Ustaya rastlad\u0131m. Dam aktars\u0131n diye eve yollad\u0131m.<\/p>\n\n\n\n Karag\u00f6z \u2013 Ya\u2026 g\u00fcle g\u00fcle yak, otur da keyfine bak.<\/p>\n\n\n\n Hac\u0131vat \u2013 Aman Karag\u00f6z, \u00f6yle mi derler ya? G\u00fcle g\u00fcle otur derler ?<\/p>\n\n\n\n G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi oyunun \u201c Muhavere \u201c yani Diyalog B\u00f6l\u00fcm\u00fc, medreseden yeti\u015fmi\u015f, a\u011fdal\u0131 bir dil kullanan Hacivat\u0131n s\u00f6zlerinin Karag\u00f6z taraf\u0131ndan yanl\u0131\u015f anla\u015f\u0131lmas\u0131ndan kaynaklanan durumu yans\u0131tmaktad\u0131r. Bundan sonra oyunun as\u0131l b\u00f6l\u00fcm\u00fcne, olay\u0131 anlatan \u201c Fas\u0131l\u2019a ge\u00e7ilir. Burada, oyununa g\u00f6re \u00e7e\u015fitli tipler perdeye gelir. Tiryaki, Tuzsuz Deli Bekir, Alt\u0131 kar\u0131\u015f Beberuhi, \u00c7elebi, Zenne ( kad\u0131n ) vs. gibi. Bundan sonra s\u0131ra oyunun biti\u015f b\u00f6l\u00fcm\u00fcne gelir. Bu b\u00f6l\u00fcmde genellikle Karag\u00f6z, Hacivat\u2019\u0131 d\u00f6ver. Bunun \u00fczerine Hacivat \u201cY\u0131kt\u0131n perdeyi eyledin viran \/ Varay\u0131m sahibine haber vereyim heman \u201c diyerek gider, Karag\u00f6z ise \u201c Her ne kadar s\u00fcrc-i lisan ( dil s\u00fcr\u00e7mesi ) ettikse af ola \u201c dedikten sonra bir sonra ki ak\u015fam\u0131n oyununu s\u00f6yler. Ve sonra mumlar s\u00f6ner\u2026<\/p>\n\n\n\n <\/p>\n\n\n\n Oyun bitmi\u015ftir. Ara\u015ft\u0131rmac\u0131 yazar Cevdet Kudret, Karag\u00f6z oyunlar\u0131n\u0131n iki ana b\u00f6l\u00fcmde topland\u0131\u011f\u0131n\u0131, bunlardan ilkinin \u2018 K\u00e2r-\u0131 kadim ( Yani eski zaman i\u015fi ) oyunlar oldu\u011funu, ikincisinin ise \u2018 Nev-icad ( Yeni uydurulmu\u015f, modern ) oyunlar oldu\u011funu belirtir.<\/p>\n\n\n\n <\/p>\n\n\n\n Karag\u00f6z\u2019e blucin giydiremeyiz<\/u><\/strong><\/p>\n\n\n\n Karag\u00f6z, y\u00fczy\u0131llarca T\u00fcrk Toplumunda etkinli\u011fini s\u00fcrd\u00fcrd\u00fckten sonra tiyatro ve sineman\u0131n do\u011fu\u015fu ile eski \u00f6nemini yitirdi. Yeni nesiller, tiyatro ve sinemaya daha fazla ilgi g\u00f6steriyorlard\u0131. Peki ya Karag\u00f6z, modernize edilip \u00f6mr\u00fcn\u00fcn uzat\u0131lmas\u0131 sa\u011flanamaz m\u0131yd\u0131?<\/p>\n\n\n\n <\/p>\n\n\n\n Son hayalci\u2019lerden Rag\u0131p Tu\u011ftekin, \u00f6l\u00fcm\u00fcnden k\u0131sa bir s\u00fcre \u00f6nce bu sat\u0131rlar\u0131n yazar\u0131na yapt\u0131\u011f\u0131 a\u00e7\u0131klamada, bunun neden m\u00fcmk\u00fcn olamayaca\u011f\u0131n\u0131 \u015f\u00f6yle a\u00e7\u0131klam\u0131\u015ft\u0131:<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c Karag\u00f6z oyununun modernize edilmesine taraftar de\u011filim. \u00c7\u00fcnk\u00fc bozulur, bir kere oyun metni de\u011fi\u015fmez. \u00c7\u00fcnk\u00fc kar\u015f\u0131l\u0131kl\u0131 yanl\u0131\u015f anlamaya dayan\u0131r. Kelimeleri de\u011fi\u015ftirirseniz Karag\u00f6z\u2019le Hacivat\u2019\u0131n muhaveresi olmaz, olsa olsa garip bir tiyatro olur. K\u0131yafetleri de\u011fi\u015femez. \u00c7\u00fcnk\u00fc setre pantolon giydirip Musevi taklidi yapt\u0131ramazs\u0131n. Bizde Rumelili var. Orada ne giyiyorsa oyunda da onu giyer. Karadenizli memleketinde \u2018 Z\u0131pka \u2018 denilen elbiseyi giyer. Karag\u00f6z\u2019\u00fc ya\u015fatmak istiyorsak eski haliyle ya\u015far. Karag\u00f6z blucin giyemez, olanak molanak laf\u0131n\u0131 kullanamaz. Kullan\u0131rsa Karag\u00f6z, karag\u00f6z olmaktan \u00e7\u0131kar\u2026\u201d<\/p>\n\n\n\n <\/p>\n\n\n\n Bu ara\u015ft\u0131rma ve derlemeyi haz\u0131rlamak i\u00e7in, gerekli materyelleri bulmak amac\u0131yla Sahaflar \u00c7ar\u015f\u0131s\u0131\u2019na gitti\u011fim bir g\u00fcn, son Karag\u00f6zleri g\u00f6rd\u00fcm. O bir zamanlar, oynat\u0131c\u0131s\u0131n\u0131n elinde t\u00fcrl\u00fc n\u00fckteler yaparak halk\u0131 kahkahaya bo\u011fan Karag\u00f6z ve Hac\u0131vat\u2019\u0131n deriden yap\u0131lm\u0131\u015f, rengarenk tasvirleri mahzun ve sessiz, bir kenara dizilmi\u015f al\u0131c\u0131 bekliyordu. Kimsenin de y\u00fczlerine bakt\u0131\u011f\u0131 yoktu. Onlar da bu lakaydiye k\u00fcsm\u00fc\u015f gibiydiler.<\/p>\n\n\n\n <\/p>\n\n\n\n MEDDAH\u2019TAN B\u00dcY\u00dcKLERE MASALLAR \u2026<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n Eski ramazan gecelerine <\/strong>renk katan g\u00f6sterilerden biri de \u201c Orta Oyunu\u2019ydu. Ad\u0131ndan da anla\u015f\u0131laca\u011f\u0131 gibi, bu seyircilerin \u00e7epe\u00e7evre ku\u015fatt\u0131klar\u0131, sadece oyuncular\u0131n ge\u00e7mesi i\u00e7in bir ucunu a\u00e7\u0131k b\u0131rakt\u0131klar\u0131 yuvarlak bir alanda oynan\u0131rd\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n Orta oyunu Karag\u00f6z\u2019\u00fcn sahneye uyarlanm\u0131\u015f \u015fekliydi denebilir. Karag\u00f6z\u00fc ( Kavuklu ), Hac\u0131vat\u2019\u0131 ise ( Pi\u015fekar ) ad\u0131 verilen oyuncular canland\u0131r\u0131rd\u0131. Oyuncular, herhangi bir yaz\u0131l\u0131 metine ba\u011fl\u0131 kalmaks\u0131z\u0131n irticalen konu\u015furdu. Dekor yoktu, aksesuar ve sahne yoktu. Klasik bir ortaoyunu, \u201c Giri\u015f \u201c b\u00f6l\u00fcm\u00fcyle ba\u015flar, zurna Pi\u015fekar havas\u0131 \u00e7alarken, Pi\u015fekar, elinde\u201d \u015eak \u015fak \u201c diye adland\u0131r\u0131lan iki dilimli bir de\u011fnek oldu\u011fu halde sahneye gelir ve oyunu a\u00e7ard\u0131. Bundan sonra diyalog b\u00f6l\u00fcm\u00fc gelmekteydi. Bu b\u00f6l\u00fcmde \u00f6nce Kavuklu ile Pi\u015fekar birbiriyle konu\u015furlar. Cevdet Kudret\u2019e g\u00f6re bu, bir tan\u0131\u015fma konu\u015fmas\u0131d\u0131r.<\/p>\n\n\n\n <\/p>\n\n\n\n Cevdet Kudret, Ortaoyununun en \u00f6nemli b\u00f6l\u00fcm\u00fc olan \u201c Tekerleme \u201c b\u00f6l\u00fcm\u00fcn\u00fc \u015f\u00f6yle anlat\u0131r:<\/p>\n\n\n\n \u201c Kavuklu ve Pi\u015fekar tan\u0131d\u0131k \u00e7\u0131kt\u0131ktan sonra Kavuklu bir tekerleme s\u00f6yler. Kavuklu, ola\u011fand\u0131\u015f\u0131 bir olay\u0131 kendi ba\u015f\u0131na gelmi\u015f gibi anlat\u0131r. Pi\u015fekar da bunu ger\u00e7ekmi\u015f gibi dinler, hatta merak\u0131n\u0131 gidermek ve ayd\u0131nlanmak iste\u011fiyle ikide bir sorular sorar, sonunda bunun bir r\u00fcya oldu\u011fu anla\u015f\u0131l\u0131r. Ortaoyunu\u2019ndaki bu tekerlemelere Karag\u00f6z oyununda r\u00fcya muhaveresi ad\u0131 verilir.<\/p>\n\n\n\n <\/p>\n\n\n\n \u0130ki s\u00f6z ustas\u0131n\u0131n ( Pi\u015fekar ve Kavuklu ) t\u00fcrl\u00fc s\u00f6z oyunlar\u0131yla yar\u0131\u015ft\u0131klar\u0131 Muhavere b\u00f6l\u00fcm\u00fc ortaoyununun en \u00f6nemli par\u00e7as\u0131d\u0131r. O y\u00fczden kimi incelemeciler ortaoyunu meydan\u0131n\u0131 bir s\u00f6z meydan\u0131 diye alm\u0131\u015flard\u0131r. Ortaoyunundaki tekerlemelerin Karag\u00f6z oyunlar\u0131ndaki Muhavereler gibi oyunlar\u0131n konular\u0131 ile ilgisi yoktur. Bunlar Kavuklu\u2019nun s\u00f6z ustal\u0131\u011f\u0131n\u0131 g\u00f6stermesine yarayan ba\u011f\u0131ms\u0131z par\u00e7alard\u0131r.\u201d<\/p>\n\n\n\n <\/p>\n\n\n\n Tekerlemelerden sonra oyunun as\u0131l b\u00f6l\u00fcm\u00fc \u2018 Fas\u0131l \u2018 gelmekte, bunu biti\u015f b\u00f6l\u00fcm\u00fc izlemekteydi. Onlar\u0131n bir b\u00f6l\u00fcm\u00fc Karag\u00f6z oyunlar\u0131n\u0131n e\u015fiydi. Bunda da Kavuklu ile Pi\u015fekar rollerinin d\u0131\u015f\u0131nda yard\u0131mc\u0131 oyuncular bulunmaktayd\u0131. \u00d6rne\u011fin sarho\u015f ( Matiz), Bek\u00e7i ( H\u0131rbo ), A\u015f\u00e7\u0131 ( yalama ), Kad\u0131n ( Gaco ) rolleri gibi.<\/p>\n\n\n\n <\/p>\n\n\n\n SON TEMS\u0130LC\u0130<\/u><\/strong><\/p>\n\n\n\n Orta Oyununun son b\u00fcy\u00fck temsilcisi olan \u0130smail D\u00fcmb\u00fcll\u00fc halk aras\u0131nda \u00e7ok sevilmi\u015fti.Ya\u015f\u0131 ileri olanlar\u0131n ad\u0131n\u0131 an\u0131msayabilece\u011fi D\u00fcmb\u00fcll\u00fc, 1912 y\u0131l\u0131nda Pa\u015fakap\u0131s\u0131\u2019ndaki Dilk\u00fc\u015fa Tiyatrosunda ilk k\u0131z sahneye \u00e7\u0131km\u0131\u015f ustal\u0131\u011f\u0131 ile k\u0131sa kendisini kabul ettirerek zirveye y\u00fckselmi\u015f, tam 55 y\u0131l s\u00fcreyle sanat\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fc.<\/p>\n\n\n\n <\/p>\n\n\n\n \u0130smail D\u00fcmb\u00fcll\u00fc, Direkleraras\u0131n\u0131n tarihe kar\u0131\u015fmas\u0131ndan sonra Beyo\u011flu\u2019na kayan e\u011flence merkezinde yapt\u0131\u011f\u0131 g\u00f6sterilerle bu sanat\u0131 ya\u015fatmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n D\u00fcmb\u00fcll\u00fc, \u00f6l\u00fcm\u00fcnden k\u0131sa bir s\u00fcre \u00f6nce kendisiyle g\u00f6r\u00fc\u015fen Gazeteci Yener \u00d6lmez\u2019e bir an\u0131s\u0131n\u0131 \u015f\u00f6yle anlatm\u0131\u015ft\u0131:<\/p>\n\n\n\n \u201c A\u00e7\u0131khava Tiyatrosunda Kavukluya Hile.. yi temsil ediyorduk. Tam oyunun ortas\u0131nda herifi na\u015ferifin biri g\u00fcya \u015faka olsun diye tohuma ka\u00e7m\u0131\u015f bir h\u0131yar\u0131 sahneye f\u0131rlat\u0131verdi. Ondan sonra efendime s\u00f6yliyeyim, koca tiyatroda ses \u00e7\u0131kmad\u0131. Herkes benden bir hareket bekliyor de\u011fil mi efendim ? \u015e\u00f6yle bir toplad\u0131m kendimi, Efendinin biri, dedim. \u2018 kartvizitini yollam\u0131\u015f, oyundan sonra gelsin de g\u00f6r\u00fc\u015felim!\u2019 Bir kahkaha, bir kahkaha\u2026\u201d<\/p>\n\n\n\n <\/p>\n\n\n\n Kahkaha kral\u0131<\/u><\/strong><\/p>\n\n\n\n Yerimizin darl\u0131\u011f\u0131 nedeniyle ortaoyunundan k\u0131saca s\u00f6zettikten sonra kavuklu rol\u00fcne \u00e7\u0131kan sanat\u00e7\u0131lara k\u0131saca de\u011finelim. D\u00f6nemine g\u00f6re Kavuklu rol\u00fcne, Abdi, Hamdi, Ali ve Na\u015fid Beyler, Pi\u015fekar rol\u00fcne de K\u00fc\u00e7\u00fck \u0130smail ve As\u0131m Baba \u00e7\u0131km\u0131\u015flard\u0131. Bunlardan Na\u015fid Bey ( \u00d6zcan ), tiyatroda oldu\u011fu kadar Ortaoyununda da b\u00fcy\u00fck ba\u015far\u0131 sa\u011flanm\u0131\u015f, bu nedenle yazar Haldun Taner\u2019in deyimiyle \u201c \u015eehzadeba\u015f\u0131\u2019n\u0131n kahkaha kral\u0131 \u201c olarak adland\u0131r\u0131lm\u0131\u015ft\u0131. Di\u011fer sanat\u00e7\u0131lar\u0131n da ba\u015far\u0131s\u0131 ondan geri kalmazd\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u015eimdi de\u011ferli okurlar\u0131m\u0131za bir fikir verebilmek i\u00e7in Ortaoyunundan bir b\u00f6l\u00fcm\u00fc, Kavuklu Hamdi ile Pi\u015fekar K\u00fc\u00e7\u00fck \u0130smail\u2019in konu\u015fmas\u0131n\u0131 s\u00fctunlar\u0131m\u0131za alal\u0131m:<\/p>\n\n\n\n \u201c Oyun hayali bir \u00fclkede ge\u00e7mekte, Pi\u015fekar K\u00fc\u00e7\u00fck \u0130smail, bu \u00fclkenin Padi\u015fah\u0131n\u0131 canland\u0131rmaktad\u0131r. Pi\u015fekar, Kavuklu Hamdi\u2019ye sorar:<\/p>\n\n\n\n Kavuklu bir temenna \u00e7ak\u0131p cevap verir:<\/p>\n\n\n\n \u201c Arzedeyim efendimiz. Yemek sizin taam buyurdu\u011funuzdur (yedi\u011finizdir ) Memek bizim t\u0131k\u0131nd\u0131\u011f\u0131m\u0131zd\u0131r. Elbise size mahsus, melbise ise bizim \u00e7aputumuz. Sarayda siz ikamet buyursunuz. Maray ise bizim kulubemiz.<\/p>\n\n\n\n Padi\u015fah rahmetli ecdad\u0131n\u0131zd\u0131r. Madi\u015fah da siz! \u201c<\/p>\n\n\n\n Ortaoyununda oyuncular, izleyenler aras\u0131nda \u00f6nemli ki\u015filer varsa, konu\u015fmalar\u0131na dikkat ederler, onlar\u0131 k\u0131racak, ya da g\u00fccendirecek bir s\u00f6z s\u00f6ylememeye \u00e7al\u0131\u015f\u0131rlard\u0131. Oyunda \u201c Yeni D\u00fcnya \u201c ad\u0131 verilen bir panodan ba\u015fka dekor bulunmazd\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n B\u00fcy\u00fcklere masallar<\/u><\/strong><\/p>\n\n\n\n Buraya kadar g\u00fcn\u00fcm\u00fczde art\u0131k kaybolan tema\u015fa sanatlar\u0131ndan Karag\u00f6z ve Ortaoyununu, kalemimiz elverdi\u011fince sizleri s\u0131kmadan anlatmaya \u00e7al\u0131\u015ft\u0131k. \u015eimdi ramazan gecelerini renklendiren bir ba\u015fka sanat kolundan \u201c Meddah \u201clardan s\u00f6zedece\u011fiz.<\/p>\n\n\n\n <\/p>\n\n\n\n Meddah, \u00f6yk\u00fc ve masal anlatan , bunlardaki \u00e7e\u015fitli tiplerin konu\u015fmas\u0131n\u0131 ustaca taklit edebilen ki\u015fiydi. \u00dcstad\u0131m\u0131z Haldun Taner\u2019in deyimiyle tek ki\u015filik bir g\u00f6steri yapard\u0131. Oyun takdimcisi, ba\u015f kahraman\u0131, efekti, laf\u0131n k\u0131sas\u0131 her \u015feyiydi. Ramazan geceleri, b\u00fcy\u00fck kahvehaneleri dola\u015f\u0131r, y\u00fcksek\u00e7e bir yere \u00e7\u0131k\u0131p anlatt\u0131\u011f\u0131 \u00f6yk\u00fc ya da masallarla t\u00fcm dikkatleri \u00fczerinde toplard\u0131. \u0130ki aksesuar\u0131 vard\u0131. Biri omuzuna ast\u0131\u011f\u0131 \u00e7ar\u015faf gibi mendil. \u2013 Oyunda Zenne\u2019ye ( Kad\u0131n\u2019a ) s\u0131ra geldi\u011fi zaman bunu ba\u015f\u0131na ba\u011flard\u0131 \u2013 Biri de elindeki sopa veya baston.. Meddah, bu sopsa ya da bastonla da efektleri yapard\u0131. \u00d6rne\u011fin kap\u0131n\u0131n \u00e7al\u0131nmas\u0131 gibi\u2026<\/p>\n\n\n\n <\/p>\n\n\n\n Do\u011fu kaynakl\u0131 bir tema\u015fa sanat\u0131 olan meddahl\u0131k, i\u00e7in bir bilgi birikimi ve taklit\u00e7ilik ustal\u0131\u011f\u0131 gerekmekteydi. Meddah \u00f6yk\u00fcs\u00fcn de anlatt\u0131\u011f\u0131 ki\u015fi hangi ulustansa onun gibi, hatta \u015fivesiyle konu\u015fur, hareketlerini canland\u0131rmaya \u00e7al\u0131\u015f\u0131rd\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n Meddah\u2019lar da \u00e7e\u015fit \u00e7e\u015fitti. Bunlardan bir b\u00f6l\u00fcm\u00fc halk kahramanlar\u0131n\u0131n \u00f6rne\u011fin Battal Gazi\u2019nin \u00f6yk\u00fcs\u00fcn\u00fc anlat\u0131rd\u0131. Baz\u0131lar\u0131 ise saz da \u00e7al\u0131p bir destan\u0131 anlatan meddahlard\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n Ge\u00e7mi\u015fin \u00fcnl\u00fc meddahlar\u0131 \u015e\u00fckr\u00fc Efendi, \u0130smail Efendi, A\u015fki Efendi ve meddah Sururi\u2019ydi. Yazar Musahipzade Celal, bunlardan A\u015fki Efendi\u2019nin \u00f6yk\u00fclerini, oyunlarla da s\u00fcsledi\u011fini belirtmektedir. Meddah A\u015fki, her gitti\u011fi yere kocaman bir \u00e7\u0131k\u0131n\u0131 da beraberinde g\u00f6t\u00fcr\u00fcr, \u00f6rne\u011fin Arap taklidi yapaca\u011f\u0131 zaman, \u00e7\u0131k\u0131ndan bir kefiye, Arnavut taklidi yapaca\u011f\u0131 zaman beyaz, ya\u011fl\u0131 bir fes \u00e7\u0131kar\u0131p giyer, daha sonra saz e\u015fli\u011finde bunlar\u0131n oyunlar\u0131n\u0131 da oynard\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n Meddah kahvehanenin iyice dolmas\u0131n\u0131 bekledikten sonra \u201c Edeyim meclise bir k\u0131ssa beyan \/ k\u0131ssadan hisse ala arif olan, diyerek s\u00f6ze ba\u015flar, sonra as\u0131l \u00f6yk\u00fcye girerdi. \u00d6nce sakin ba\u015flayan anlat\u0131m, giderek hareketlerini \u00f6yk\u00fcn\u00fcn kahramanlar\u0131 hareketleriyle, s\u00f6zleriyle birer iki\u015fer izleyicilerin \u00f6n\u00fcnde canlan\u0131rd\u0131. Olaylar\u0131n baz\u0131lar\u0131 yabanc\u0131 \u00fclkelerde ya da adalarda, mesela Cava, Sumatra adas\u0131nda ba\u015flar, Meddah ba\u015f kahraman\u0131 al\u0131p \u0130stanbul\u2019a kadar getirir, bir \u0130stanbul dilberine a\u015f\u0131k eder, k\u0131z\u0131n babas\u0131 vermek istemez, olaylar \u00f6nce arap sa\u00e7\u0131na d\u00f6ner, daha sonra tatl\u0131ya ba\u011flan\u0131rd\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n Oyun boyunca kahvede \u00e7\u0131t \u00e7\u0131kmaz, sadece \u2013 T\u00fct\u00fcn yasa\u011f\u0131 olmayan d\u00f6nemlerde \u2013 \u00e7ubukla t\u00fct\u00fcn i\u00e7ilirdi<\/p>\n\n\n\n <\/p>\n\n\n\n \u015eEHZADEBA\u015eI\u2019NDA EN \u00c7OK \u0130ZLENEN SANAT\u00c7ILAR KANTOCULAR<\/strong><\/p>\n\n\n\n KANTO KRAL\u0130\u00c7ES\u0130 PERUZ HANIM<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n Eski ramazanlarda Direkleraras\u0131na gelinir de kanto dinlemeden, ya da dram veya tuluat, temsil izlemeden d\u00f6n\u00fcl\u00fcr m\u00fc? \u0130ster dram oynas\u0131n, ister tuluat, tiyatrolar ve kantocular ge\u00e7mi\u015f zamanlar\u0131n ilgi oda\u011f\u0131n\u0131 olu\u015ftururdu.<\/p>\n\n\n\n <\/p>\n\n\n\n \u0130talyanca\u2019da \u015fark\u0131 anlam\u0131na gelen \u2018 Canto \u2018 kelimesinden \u00fcretilen Kanto, g\u00f6zde oldu\u011fu y\u0131llarda Beyzadesi\u2019nden K\u00fclhanbeyi\u2019ne , yazar\u0131ndan \u015fairine kadar herkes taraf\u0131ndan sevilir ve ilgiyle izlenirdi. Bunda biraz da kantocular\u0131n o d\u00f6nem i\u00e7in ger\u00e7ekten cesur say\u0131labilecek dekolte k\u0131yafet giymelerinin de etkisi vard\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n K\u0131yafetleri ve s\u00f6yledikleri \u2018hafif \u2018 \u015fark\u0131larla bug\u00fcn\u00fcn erotik. \u015eark\u0131c\u0131lar\u0131n\u0131 \u00e7a\u011fr\u0131\u015ft\u0131ran kantocular ilk kez G\u00fcll\u00fc Agop\u2019un tiyatrosunda sahneye \u00e7\u0131km\u0131\u015flard\u0131. Ba\u015flang\u0131\u00e7ta temsil ba\u015flayana kadar, sahne \u00f6n\u00fcnde yeralan davul, trompet, keman ve zilden olu\u015fan orkestra e\u015fli\u011finde seyirciyi oyalamak i\u00e7in kanto denilen \u015fark\u0131lar\u0131 s\u00f6yleyen kantocular zamanla b\u00fcy\u00fck ilgi g\u00f6rm\u00fc\u015fler, hatta oynanacak temsili bile g\u00f6lgede b\u0131rakm\u0131\u015flard\u0131. Bunun \u00fczerine temsillerin aras\u0131na da kantocular\u0131n yerald\u0131\u011f\u0131 b\u00f6l\u00fcmler eklenmeye ba\u015flanm\u0131\u015f, halk\u0131n bir b\u00f6l\u00fcm\u00fc yaln\u0131zca kantocular i\u00e7in tiyatroya gelmeye ba\u015flam\u0131\u015ft\u0131. <\/p>\n\n\n\n <\/p>\n\n\n\n All\u0131 pullu, dekolte elbiselerle sahneye \u00e7\u0131kan ve m\u00fczi\u011fin ritmine ayak uydurarak danseden kantocular aras\u0131nda en fazla sivrilenleri Peruz, \u015eamram, Amelya, K\u00fc\u00e7\u00fck Virjin, Minyon Virjin, Violet, Blan\u015f olu\u015fturmaktayd\u0131 ve bunlar aras\u0131nda zaman zaman a\u00e7\u0131\u011fa vurulan bir rekabet vard\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 PERUZ \u2013 \u015eAMRAN HANIM \u00c7EK\u0130\u015eMES\u0130<\/strong><\/p>\n\n\n\n Bu kantocular aras\u0131nda Peruz, bir zamanlar halk\u0131n g\u00f6zdesiydi. O d\u00f6nemde ya\u015fayanlar\u0131n estetik zevklerine uygun iri ve dolgun bir v\u00fccudu, g\u00fczel bir y\u00fcz\u00fc vard\u0131. Kantosunu s\u00f6ylerken, izleyicisiyle yak\u0131n diyalog kurmas\u0131, k\u0131vrak hareketleri, g\u00f6z s\u00fcz\u00fc\u015f\u00fc has\u0131l\u0131 her \u015feyiyle seyirciyi kendisine ba\u011flamas\u0131n\u0131 bilirdi.<\/p>\n\n\n\n <\/p>\n\n\n\n Peruz\u2019un en b\u00fcy\u00fck rakibi ise akrabas\u0131 olan \u015eamram Han\u0131m\u2019d\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u015eamram Han\u0131m, \u00dcn\u00fcn\u00fc \u2018Yang\u0131n Var \u2018 isimli kantosuyla yapm\u0131\u015ft\u0131. Kanto, \u015eamram Han\u0131m\u2019\u0131n kan k\u0131rm\u0131z\u0131, g\u00f6zal\u0131c\u0131 bir elbiseyle sahneye \u00e7\u0131kmas\u0131yla ba\u015flar, O\u2019nu elinde tulumba ile Na\u015fid veya \u015eevki Bey izlerdi. \u015eamram Han\u0131m izleyicilere \u015f\u00f6yle bir g\u00f6z att\u0131ktan sonra, sa\u011fa sola \u00f6p\u00fcc\u00fckler yollar hemen arkas\u0131ndan b\u00fclb\u00fcl gibi \u015fak\u0131maya ba\u015flard\u0131:<\/p>\n\n\n\n \u201c \u00c7\u0131t\u0131, P\u0131t\u0131, minimini \/ mis kokulu han\u0131meli \/ m\u00fcsaade Eyle koklayay\u0131m\/ \u00c7i\u00e7e\u011fim soldurmam seni \/ Yang\u0131n Vaaar \u201c<\/p>\n\n\n\n Kantonun buras\u0131nda Na\u015fid ya da \u015eevki Bey, elinde tulumba ile ko\u015farak gelir ve sorard\u0131:<\/p>\n\n\n\n \u201c Yang\u0131n nerede ?<\/p>\n\n\n\n \u015eamram \u00f6nce \u015fuh bir kahkaha atar \u2018 \u015eamram\u2019\u0131n kalbinde \u2018 dedikten sonra kantoyu \u015f\u00f6yle s\u00fcrd\u00fcr\u00fcrd\u00fc:<\/p>\n\n\n\n \u201c Yang\u0131n var, yang\u0131n var, ah yan\u0131yorum \/ Yeti\u015fin a dostlar tutu\u015fuyorum \/ Ah ne \u015feker, ah ne kaymak \/ Tombul tombul pembe yanak \/ Ben \u00e7arp\u0131nt\u0131ya u\u011frad\u0131m \/ Gel elmas\u0131m kalbime bak \/ Yang\u0131n var, Yang\u0131n var, ben yan\u0131yorum \/ Yeti\u015fin a dostlar tutu\u015fuyorum\u2026<\/p>\n\n\n\n <\/p>\n\n\n\n \u00d6ld\u00fc\u011f\u00fc zaman sand\u0131\u011f\u0131ndan \u00e7ok say\u0131da kanto bestesi \u00e7\u0131kan \u015eamram Han\u0131m\u2019\u0131n kantolar\u0131n\u0131n bir \u00f6zelli\u011fi de konusunu g\u00fcncel olaylardan almas\u0131yd\u0131. Mesela \u2018 Yang\u0131n Var \u2018 kantosunu, o d\u00f6nemde \u00f6zellikle yaz aylar\u0131nda ve patl\u0131can mevsiminde \u00e7\u0131kan ve k\u0131rk- elli evi birden k\u00fcl eden yang\u0131nlardan esinlenerek yazm\u0131\u015f, bestelemi\u015fti. \u2018 Velospit \u2018 ( Bisiklet ) Kantosu ise o s\u0131ralardan yeni yeni g\u00f6r\u00fclmeye ba\u015flanan bisikleti konu almaktayd\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u015eamram han\u0131m geli\u015fmeleri izler, genelde kendi bestesi olan kantolarla sahneye \u00e7\u0131kard\u0131. Onun, \u015e\u0131k beyleri, genelde kendi bestesi olan kantolarla sahneye \u00e7\u0131kard\u0131. \u015e\u0131k beyleri, Pa\u015fa \u00e7ocuklar\u0131n\u0131 alaya alan H\u00fczzam Kantosu da \u00e7ok be\u011feni toplam\u0131\u015ft\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c Beyimin geli\u015fi ho\u015ftur \/ Galiba cepleri bo\u015ftur. \/ \u0130spir \u00e7al kam\u00e7\u0131y\u0131 ko\u015ftur.\/ Bula\u015f\u0131kt\u0131r benim beyim. \/ Sarma\u015f\u0131kt\u0131r beyim benim. \/ G\u00f6zleri kara karas\u0131.\/ Han\u0131mlar\u0131n maskaras\u0131.\/ A\u015fk\u0131m\u0131n y\u00fcz karas\u0131.\u201d<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>Zengin ve \u015f\u0131k beylere, pa\u015fa \u00e7ocuklar\u0131na g\u00f6ndermeler yapan, onlar\u0131 hicveden bu kanto\u2019nun \u00f6zellikle \u00a0toplumun alt tabakalar\u0131nda, pek tutuldu\u011funu tarih\u00e7i Re\u015fat Ekrem Ko\u00e7u nakletmektedir. Peruz, \u015eamdan\u2019\u0131n bu kanto ile y\u0131ld\u0131z gibi parlad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcnce benzeri bir kantoyla sahneye \u00e7\u0131kmaya ba\u015flam\u0131\u015ft\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c Beyo\u011flu\u2019nun her ak\u015fam \/ Piyasas\u0131 pek ho\u015ftur \/ Benim g\u00fczel beyimin \/ Galiba cebi bo\u015ftur.. \/ Beyo\u011flu piyasas\u0131 \/ Pek ho\u015ftur dola\u015fmas\u0131\/ Soyuldum, so\u011fan gibi \/ \u0130\u015fte kesenin dibi\u2026 \/ Vay vay vay pek yand\u0131m \/ Yaz\u0131k ki pek ge\u00e7 uyand\u0131m \u201c<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n <\/strong>Peruz, bu kantoyu s\u00f6ylerken \u201c Benim g\u00fczel beyimin \/ Galiba cebi bo\u015ftur \u201c b\u00f6l\u00fcm\u00fcne gelince, hayran hayran kendisini izleyenlerden birini g\u00f6sterir, bir g\u00fcl\u00fcc\u00fck g\u00f6nderirdi. O ki\u015fi, Peruz\u2019un bu iltifat\u0131ndan mutlu olurken di\u011fer seyirciler alk\u0131\u015f ya\u011fmuruna tutarlard\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u015eamran Han\u0131m, ikinci b\u00fcy\u00fck \u00e7\u0131k\u0131\u015f\u0131n\u0131 o y\u0131llarda \u0130stanbul\u2019da yeni yeni g\u00f6r\u00fclmeye ba\u015flanan Velospit ( Bisiklet ) kantosu ile yapm\u0131\u015ft\u0131. Kantonun s\u00f6zlerini kendisi yazan, bestesini de kendisi yapan \u015eamran \u015f\u00f6yle sesleniyordu:<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c Ne aksi makine bu \/ Hopla hopla ! \/ Hende\u011fi atla \/ Alert \/ Dar ceket, \u015f\u0131k tuvalet \/ Arabac\u0131 dikkat et \/ Simit\u00e7i tablan\u0131 g\u00f6zet \/<\/strong><\/p>\n\n\n\n <\/p>\n\n\n\n Di\u011fer kantocular<\/u><\/strong><\/p>\n\n\n\n Ya K\u00fc\u00e7\u00fck Virjin? Komik-i \u015eehir (ba\u015fkomik ) Na\u015fid Beyin kumpanyas\u0131n\u0131n \u00f6nde gelen y\u0131ld\u0131zlardand\u0131. Kemani Yorgo Efendi ile evli olan Virjin, e\u015finin keman\u0131n\u0131n na\u011fmeleriyle danseder, kanto s\u00f6ylerdi. T\u00fcrk\u00e7eyi \u00e7ok g\u00fczel konu\u015ftu\u011fu i\u00e7in temsillerde de rol alan Virjin\u2019in Yorgo Efendiyle olan evlili\u011finde d\u00fcnyaya gelen \u00fc\u00e7 \u00e7ocu\u011fundan Amelya!da gen\u00e7 ya\u015fta \u00fcne eri\u015fecek, sevilen bir sanat\u00e7\u0131 olacakt\u0131. \u0130lk kez 15 ya\u015f\u0131ndayken sahneye \u00e7\u0131kan Amelya\u2019n\u0131n Na\u015fid Bey\u2019le evlili\u011finden do\u011fan Adile Na\u015fid ve Selim Na\u015fid aileden gelen \u00fcst\u00fcn sanat g\u00fcc\u00fcn\u00fc miras olarak alm\u0131\u015f ve T\u00fcrk Tiyatrosunun ba\u015far\u0131l\u0131 sanat\u00e7\u0131lar\u0131 aras\u0131na girmi\u015flerdi.<\/p>\n\n\n\n <\/p>\n\n\n\n Hi\u00e7 \u015f\u00fcphesiz ki, kantocular sayd\u0131\u011f\u0131m\u0131z ki\u015filerden fazlayd\u0131. \u00d6rne\u011fin Violet\u2026 Yazar Ahmet Rasim, Violet\u2019in portresini \u015fu s\u00f6zlerle \u00e7iziyor:<\/p>\n\n\n\n \u201c Ah kantolar! \u0130\u015fte Violet. \u00dc\u00e7 kar\u0131\u015f g\u00f6vde, bir topak sa\u00e7, avu\u00e7 kadar y\u00fcz, kara ka\u015f, kara g\u00f6z. Kuzu gerdanl\u0131, ince belli, ufak elli, tarak ayak, k\u0131s\u0131la k\u0131s\u0131la \u00e7\u0131kan sesiyle hayk\u0131rmak istiyor. Oynuyor, adeta z\u0131pl\u0131yor. El \u015fak\u0131rt\u0131lar\u0131ndan hazzediyor. Soldaki locadan birine s\u0131k s\u0131k bak\u0131yor. Mini mini kurnaz. Kimseye \u00e7akt\u0131rm\u0131yor. Diyorlar ki bu \u2018 S\u00fcrpet \u2018 b\u00fcy\u00fcd\u00fck\u00e7e bir afet olacak. \u201c<\/p>\n\n\n\n <\/p>\n\n\n\n Bir de s\u00f6yledi\u011fi kantolardan \u00e7ok, g\u00fczelli\u011fi ile \u00fcnl\u00fc Matmazel Blan\u015f vard\u0131. G\u00fczelli\u011fi t\u00fcm \u0130stanbul\u2019un dilindeydi. Rum as\u0131ll\u0131 olan Blan\u015f da Na\u015fid\u2019in Tiyatrosunda sahneye \u00e7\u0131km\u0131\u015f, bunun yan\u0131 s\u0131ra Binnaz filminde rol alm\u0131\u015f, daha sonra da i\u015fgal nedeniyle \u0130stanbul\u2019da bulunan \u0130talyanlardan birine sevdalanarak, her \u015feyi, hayranlar\u0131n\u0131 y\u00fcz\u00fcst\u00fc b\u0131rak\u0131p onunla birlikte \u0130talyaya gitmi\u015fti.<\/p>\n\n\n\n <\/p>\n\n\n\n Zarife\u2026 Evantiya\u2026 Minyon Virjin ve yerimizin darl\u0131\u011f\u0131ndan adlar\u0131ndan s\u00f6zedemedi\u011fimiz niceleri\u2026 Hepsi de o sahnelerden birer birer ge\u00e7tiler ve arkalar\u0131nda nice g\u00fczel an\u0131lar b\u0131rakarak sonsuzlu\u011fa g\u00f6\u00e7ettiler. Kanto\u2019da Hayali cihana bedel bir an\u0131 olarak Eski \u0130stanbul efendilerinin belleklerinde kald\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n YAZAR SERMET MUHTAR ALUS\u00a0 ANLATIYOR<\/strong><\/p>\n\n\n\n \u201c KANTOCU PERUZ ANNE, KAYNANA ROL\u00dcNE \u00c7IKMAZDI.. \u201c<\/strong><\/p>\n\n\n\n Eserlerinde ya\u015fad\u0131\u011f\u0131 d\u00f6nemin \u0130stanbul\u2019unu t\u00fcm \u00f6zellikleriyle anlatan, insanlar\u0131n\u0131 hovarda Fehim Pa\u015fa\u2019dan \u00c7e\u015fmemeydan\u0131 Sand\u0131\u011f\u0131 tulumbac\u0131 reisi Deli Recep\u2019e kadar t\u00fcm ayr\u0131nt\u0131lar\u0131yla i\u015fleyen yazar Sermet Muhtar Alus, kantoculara da de\u011finmi\u015f, bir zamanlar \u015eehzadeba\u015f\u0131\u2019n\u0131n y\u0131ld\u0131zlar\u0131 olan Peruzlar\u2019\u0131, \u015eamram Han\u0131mlar\u0131, K\u00fc\u00e7\u00fck Amelya\u2019lar\u0131, ayr\u0131nt\u0131l\u0131 olarak anlatm\u0131\u015ft\u0131. Yazar Sermet Muhtar, kantoculardan \u00f6zetle \u015f\u00f6yle s\u00f6zediyordu:<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c K\u00fc\u00e7\u00fck Eleni, Handehane-i Osmani\u201d Osmanl\u0131 kahkahalar Evi \u201c yahut \u201c Osmanl\u0131 G\u00fclmeevi \u201c tiyatrosunda kantoculuk yapard\u0131. Ablak y\u00fczl\u00fc k\u0131sa k\u0131sa ka\u015fl\u0131, ak\u00e7a pak\u00e7a, bodur ve yusyuvarlakt\u0131. Tepesinden beyaz t\u00fcyden sorgu\u00e7la havalanan bir keklik gibi z\u0131playa z\u0131playa sahneye ad\u0131m\u0131n\u0131 atar, etekleri tutu\u015fmu\u015f\u00e7as\u0131na habire \u00e7\u0131rp\u0131n\u0131r, tela\u015f\u0131ndan mosmor kesilirdi.<\/p>\n\n\n\n <\/p>\n\n\n\n \u2026 Tatavla\u2019l\u0131 ( Kurtulu\u015fun eski ad\u0131 ) Fotini y\u0131llarca Suriye \u015fehirlerinde dola\u015fm\u0131\u015f, dilberlik \u00e7a\u011flar\u0131n\u0131 orada ge\u00e7irmi\u015f, s\u0131skala\u015ft\u0131ktan sonra \u0130stanbul\u2019a d\u00f6n\u00fcp Gamela ismiyle yaln\u0131z Minakyan Tiyatrosu\u2019nda oynamaya ba\u015flam\u0131\u015ft\u0131. Haspan\u0131n sesi g\u00fcya bo\u011faz\u0131 s\u0131k\u0131l\u0131yormu\u015f gibi ne derece berbatsa Arapkari rakslar\u0131 o kadar m\u00fckemmeldi.<\/p>\n\n\n\n <\/p>\n\n\n\n \u201c \u00c7\u0130NCE KONU\u015eUYOR G\u0130B\u0130YD\u0130 \u201c<\/u><\/strong><\/p>\n\n\n\n K\u00fc\u00e7\u00fck Amelya\u2019ya gelince tatar\u0131ms\u0131, g\u00f6z kapaklar\u0131 \u015fi\u015f\u00e7e, \u015fi\u015fman, bast\u0131 bacak, yumuk yumuktu. Gayet de \u00e7etrefilli dilli. \u00c7ince konu\u015fuyor gibiydi. Kocas\u0131 Todori ile \u2018 \u00c7ifte Kamburlar \u2018 d\u00fcettosuna \u00e7\u0131kt\u0131klar\u0131 zaman seyret kahkahadan k\u0131r\u0131lanlar\u0131.<\/p>\n\n\n\n <\/p>\n\n\n\n \u015eamram, sahnede d\u00fcr\u00fcst konu\u015fur, ders dikte ettirir gibi kelimelerin hakk\u0131n\u0131 verirdi. G\u00fcftekar ve bestekard\u0131 da. \u2018 Yandan y\u0131rtma\u00e7 fistanlar \u2018 \u2018G\u00f6r\u00fcn\u00fcyor tombul bacaklar \u2018\u201d gibi kantolar, \u2018 Bozac\u0131,\u201d \u201c Tur\u015fucu \u201c kabilinden komik d\u00fcettolar onundu.<\/p>\n\n\n\n <\/p>\n\n\n\n Peruz ise hepsinin kad\u0131nnesiydi. Tazeli\u011finde, \u00e7at\u0131k ka\u015flar\u0131, bayg\u0131n g\u00f6zleri, beyaz teni, bal\u0131keti v\u00fccudu ile ortal\u0131\u011f\u0131 kas\u0131p kavurmu\u015f\u2026 Bizim \u00e7ocuklu\u011fumuzda kartla\u015fm\u0131\u015f, dubala\u015fm\u0131\u015ft\u0131. Kel Hasan O\u2019nu Heybeliada\u2019ya benzetirdi. En sonra s\u0131ra O\u2019na gelirdi. Perde a\u00e7\u0131l\u0131p muz\u0131ka \u00e7ald\u0131\u011f\u0131 par\u00e7ay\u0131 sekiz on kere tekrarlayadursun g\u00f6r\u00fcnmez de g\u00f6r\u00fcnmez! Nihayet m\u00fcr\u00fcveten \u00e7\u0131k\u0131yormu\u015f gibi naz ve eda ile aheste beste buyurur, muhakkak bir sebep bulup ya \u00e7alg\u0131c\u0131lara \u00f6fkelenir, ya perdeciye\u2026 Ard\u0131ndan da deruni deruni \u201c Kalbi viran\u0131m yan\u0131yor \u2018 tarz\u0131nda a\u011f\u0131r bir kantoya giri\u015firdi.<\/p>\n\n\n\n Vucudunun okkal\u0131 olu\u015fundan keman sololar\u0131nda yerinde sayar, hafif hafif g\u00f6\u011f\u00fcs titrete titrete mihveri etraf\u0131nda d\u00f6nerdi\u2026<\/p>\n\n\n\n <\/p>\n\n\n\n Yazan: Ertan \u00dcnal<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":" \u201c YAR BANA B\u0130R E\u011eLENCE MEDET \u201c ERTAN \u00dcNAL Temmuz 2009 Geliniz, Bilgisayar \u00e7a\u011f\u0131n\u0131 geride b\u0131rakal\u0131m, sizinle zaman t\u00fcnelinden ge\u00e7ip Eski \u015eehzadeba\u015f\u0131\u2019na gidelim. \u0130\u015fte geldik bile\u2026 \u015eans\u0131m\u0131za toplumsal hayat\u0131n daha canl\u0131 oldu\u011fu bir yaz ramazan\u0131na d\u00fc\u015fm\u00fc\u015f\u00fcz. Direkleraras\u0131 y\u00fck\u00fcn\u00fc \u00e7oktan alm\u0131\u015f. Kad\u0131nl\u0131, erkekli kalabal\u0131k mah\u015fer gibi. Bu kalabal\u0131kta kimseye \u00e7arpman\u0131n y\u00fcr\u00fcmenin imkan\u0131 yok. \u00d6n\u00fcnde durdu\u011fumuz […]<\/p>\n","protected":false},"author":1,"featured_media":189,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_regular_price":[],"currency_symbol":[],"footnotes":""},"categories":[1],"tags":[],"class_list":["post-185","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"post_slider_layout_featured_media_urls":{"thumbnail":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4-150x150.jpg",150,150,true],"post_slider_layout_landscape_large":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4-720x800.jpg",720,800,true],"post_slider_layout_portrait_large":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4.jpg",720,1080,false],"post_slider_layout_square_large":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4.jpg",720,1080,false],"post_slider_layout_landscape":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4-600x400.jpg",600,400,true],"post_slider_layout_portrait":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4-600x900.jpg",600,900,true],"post_slider_layout_square":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4-600x600.jpg",600,600,true],"full":["http:\/\/www.ertanunal.com\/wp-content\/uploads\/2026\/01\/eski-ramazanlar4.jpg",720,1080,false]},"_links":{"self":[{"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=\/wp\/v2\/posts\/185","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=185"}],"version-history":[{"count":1,"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=\/wp\/v2\/posts\/185\/revisions"}],"predecessor-version":[{"id":186,"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=\/wp\/v2\/posts\/185\/revisions\/186"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=\/wp\/v2\/media\/189"}],"wp:attachment":[{"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=185"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=185"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.ertanunal.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
\n
\n
\n