Taner's "Gözlerimi Kaparım, Vazifemi Yaparım" Sparks Controversy

Taner's "Gözlerimi Kaparım, Vazifemi Yaparım" Sparks Controversy

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Taner's "Gözlerimi Kaparım, Vazifemi Yaparım" Sparks Controversy

Haldun Taner's "Gözlerimi Kaparım, Vazifemi Yaparım", a satirical play first performed in 1964, uses the contrasting lives of Vicdani and Efruz to critique Turkish politics from the 31 March Incident (1909) to the 1971 coup, recently sparking controversy through the misrepresentation of a video clip.

Turkish
Turkey
PoliticsArts And CultureCensorshipSocial CommentaryPolitical SatireTurkish TheaterHaldun TanerGözlerimi Kaparım Vazifemi Yaparım
İstanbul Büyükşehir Belediyesi Şehir Tiyatrolarıİttihat Ve Terakki
Haldun TanerUlvi UrazMahmut Şevket PaşaIi. AbdülhamidV. Mehmed Reşad
How does the play's enduring popularity and recent controversy reflect changing perceptions of Turkish political history and artistic expression?
The play's recent performance at the Harbiye Cemil Topuzlu Open Air Theatre sparked controversy after a short video clip circulated on social media, falsely presented as a current Şehir Tiyatroları production. This incident highlights attempts to connect the play with recent political events against the Istanbul Metropolitan Municipality.
What is the central message of Haldun Taner's "Gözlerimi Kaparım, Vazifemi Yaparım", and how does it resonate with Turkey's contemporary political climate?
Haldun Taner's "Gözlerimi Kaparım, Vazifemi Yaparım", first staged in 1964, satirizes Turkey's political landscape from the 31 March Incident to the 1971 coup through the contrasting lives of Vicdani and Efruz. The play, continuously updated until 1978, has been performed almost every season for 60 years.
What are the potential long-term implications of using a historical play like "Gözlerimi Kaparım, Vazifemi Yaparım" as a tool in current political discourse?
Despite the superficial staging of the recent production, the play's enduring relevance stems from its timeless portrayal of opportunism versus principle. The characters of Vicdani and Efruz, representing blind obedience and cynical pragmatism, respectively, remain pertinent in contemporary Turkey.

Cognitive Concepts

4/5

Framing Bias

The narrative heavily emphasizes the recent controversy surrounding a short video clip from the play, framing it as a deliberate attempt to link the play to current political events. This framing overshadows the play's long history and artistic merit. The headline (if there was one) likely focused on the controversy rather than the artistic achievement of the play. The introduction immediately highlights the controversy and the alleged intention behind it, shaping the reader's perception before introducing the play's context.

2/5

Language Bias

While the article expresses strong opinions, it generally avoids overtly charged language. However, phrases like "linç kampanyası" (lynching campaign) and descriptions of the recent production as an "ilkokul müsameresi" (elementary school performance) carry negative connotations and could be considered loaded language. More neutral alternatives might include 'criticism' and 'less sophisticated production' respectively.

3/5

Bias by Omission

The analysis focuses heavily on the recent controversy surrounding a short video clip of the play, potentially omitting broader critical perspectives on the play's enduring relevance and its consistent staging over six decades. It also lacks detailed discussion of the play's portrayal of historical events, focusing more on the current controversy.

4/5

False Dichotomy

The article presents a false dichotomy by framing the discussion solely around the recent controversy and the play's inherent message. It fails to acknowledge the possibility that both the controversy and the play's themes can coexist, and that the controversy might not invalidate the play's message. The article omits alternative viewpoints about the video's intention and impact.

Sustainable Development Goals

Peace, Justice, and Strong Institutions Positive
Direct Relevance

The play "Gözlerimi Kaparım, Vazifemi Yaparım" uses historical events in Turkey to highlight the consequences of both blind obedience and opportunistic behavior within political systems. By showcasing the contrasting fates of Vicdani and Efruz, the play implicitly encourages critical thinking about power structures and responsible citizenship, thus contributing positively to SDG 16 (Peace, Justice and Strong Institutions) which promotes peaceful and inclusive societies for sustainable development, providing access to justice for all and building effective, accountable and inclusive institutions at all levels.