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Notes
1 See, for example, the pertinent essays in Jürs-Munby et al. (Citation2013), Boenisch (Citation2015), as well as the special issue of Performance Research on dialectics, edited by Eleanor Massie and Philip Watkinson (Citation2016), for diverse scholarship.
2 The production premiered in 2012, and was performed in Istanbul 27–29 May 2014 during the International Theatre Festival. It had also been on tour in several different countries from 2012–2013, including France, Australia, Canada, Greece, Italy, Brazil, Argentina and USA. It was performed in German with the title “Ein Volksfeind.” See IbsenStage (Citation2018) for further information on the production, as well as on the details of its individual performances: https://ibsenstage.hf.uio.no/pages/event/78928; https://ibsenstage.hf.uio.no/pages/event/84443.
3 The movement began as a small protest against governmental plans to destroy Gezi Park and turn the area into a shopping mall on 28 May 2013. The protest culminated in on 31 May 2013 and lasted until 15 June 2013, when the park was stripped off the protesters by the police.
5 See also, Moi (Citation2006, 91, 92) for a slightly recent treatment of the critical outrage that Ghosts caused.
6 For instance, “Protest and the Politics: Roar Sympoisum: Gezi and the Spirit of Revolt” issue of the Roar Magazine (http://roarmag.org/2014/01/roar-symposium-gezi-uprising-turkey/), Insight Turkey’s “Gezi” issue Turkey after the Gezi Park (http://www.insightturkey.com/insight-turkey-volume-15-no-3/issues/350), as well as the relatively recent documentary on the Gezi protests, that is to say, Cennetin Düşüşü [The Fall of Heaven] (Citation2017) (https://www.youtube.com/watch?v=jMkPIrjp7X0), might offer some food for thought for English speaking readers. See also, Cook (Citation2017, passim; esp. ch. 3–4) for broader considerations.
7 Steven A. Cook nicely identifies this “partnership” with crony capitalism: “The deal was straightforward: the business community had to play by the AKP’s rules or they would not have access to government contracts. Those who resisted faced the punitive power of the Turkish state” (Citation2017, 115).
8 According to the documentation of the production in Ostermeier and Boenisch, however, the precise equivalent of the word used in the English surtitles would be “brainless agitator” (Citation2016, 114).
9 The media silence on the manners through which the AKP disproportionately deployed “the Repressive State Apparatus” illustrates the point. As a result of this silence, the ensuing loss of eight lives and a myriad of injuries in the process, went almost unnoticed by the majority of the society.
10 Güllü (Citation2014). Unless indicated otherwise, all translations are my own.
11 Actually, Anık was not the only one who found the spectators’ contribution irrelevant to the play. Üstün Akmen too discussed about how the performance itself was “slowed down” after the “pseudo intellectual forum.” See Akmen (Citation2014).
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BURÇ İDEM DİNÇEL
BURÇ İDEM DİNÇEL is a PhD candidate in Drama at Trinity College Dublin. He has published extensively on Theatre and Translation Studies and taught courses on twentieth-century theatre, theatre movements, Traditional Turkish Theatre, as well as on the history of Turkish theatre. He is the author of Last Tape on Stage in Translation: Unwinding Beckett’s Spool in Turkey (2012) and the co-editor of Metamorphoses of Ancient Myths (2017). E-mail: [email protected]