The birth of director and the emergence of post-dramatic structure in contemporary theatre brought along disengagement from classical dramatic style and this situation affected the approaches of dramaturgy, playwriting and stage management. In parallel with the development of Western theatre, Turkish playwrights put forth new constructs, within the narrative aesthetics that changed starting from the 2000s and used elements such as figure, light, music and language, which in their essence are not dramatic as an element of creation. These forms of writing, which deconstruct the dramatic, led to the birth of a new aesthetics of theatre. Yeşim Özsoy, who produces texts using different disciplines such as technology/performance/music together and theorizes her works with the formula “new text-new theatre,” especially draws attention as an author in the new theatre aesthetics. In this study, the play texts “Aksak İstanbul Hikâyeleri” (Halting İstanbul Stories) and “Son Dünya” (The Last World) were treated in order to shed light on the new form trials of Özsoy, designed aiming at the predominant differences of her playwriting, dramatic structure and staging. Within the scope of the study, initially a general frame was drawn on post-dramatic theatre; the play texts were examined under four main headings being “text analyses,” “time-space design,” “language-narration relationship” and “concrete solutions aimed at staging.” Since the quests regarding new forms of writing plays and the endeavour to produce interdisciplinary texts contribute to theatre aesthetics, they are important for Turkish Theatre.

Yeşim Özsoy, Writer theatre, New text, New theatre, Post-dramatic