Author : Bengi Heval Öz - Doç.Dr. Özlem Belkıs
Type : Özgün Makale
Printing Year : Temmuz 2017
Doi Number :
Number : 2
Date : 2017-06-28 02:45:57


Theater is also a commercial medium. This covers a very large area, from the salaries of theater workers, to the theater's place, from ticket sales to tax payments. Theaters have maintained institutional arrangements with or without allowance for centuries. There are also a number of theaters in our country that are funded by various public and private institutions. In addition to these, there are also theaters who make their own budget with their own box office income without any allowance. Collecting allowance for theatre institutions is a big issue. General arts management and administrative management are also separate and complex matters of theatre to be considered. Looking at the post-2000 Turkish Theater, there is an increase in number of private theater groups as well as their productions. It is remarkable that among these theaters, many of which define themselves as alternative theaters. The effects of free economy privatization policies can also be observed in the art of theatre. How are these small-scale alternative theaters affected by this matter today? Another issue that attracts attention in these communities is the leadership of women. It is seen that names like Yeşim Özsoy, Şahika Tekand, Nesrin Kazankaya, Zeynep Kaçar and Jale Karabekir have created their own theater groups, directed, played, and sometimes wrote theatre plays to be staged by their own. The societies that are shaped under the influence, mental understanding and theatrical vision of these names are noteworthy examples. One of the artists named in this study is Yeşim Özsoy and she is the founder of GalataPerform. In the study, data collection tools were used for the qualitative research method, especially the in-depth interview. The research aims to contribute to the writing of the history of the alternative theater of Turkey, to contribute to the writing of the history of women's productions in this context, and to examine the natural formation of theater structures in such matter.


Yeşim Özsoy, GalataPerform, Alternative Theatre, Woman Leader, Gender
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