Appearances of societalism in Turkish theater in the context of literature and ideology (1946-1960)

This study analyzes the plays written between 1946 and 1960 in terms of societalism, a concept most often associated with Marxism, particularly with socialist realism, the interpretation of Marxism in the Soviet Union (USSR). This study challenges this prevailing perspective by contending that literary productions designed to inculcate alternative ideologies should also be understood within the paradigm of societalism.To comprehend the concept of societalism, it is essential to explore the historical interplay between art and society. This study employs a multifaceted approach by examining origin narratives, including myths, cave paintings, dramatic performances, and ritual practices. The analysis posits that these narratives are imbued with a functional-utilitarian (pragmatist) essence, thereby establishing a foundational framework for the examination of societalist theater plays. These plays, when assessed within the context of ideological conductivity, offer a compelling case study. Moreover, the study delves into the contributions of Marxist aesthetic theorists, underscoring the significance of their insights in unraveling the intricate link between literature and ideology. From this perspective, ideology is associated with the phenomena of power in the sense of the ruling class and governance in the sense of ensuring the natural acceptance of the interests of power by society.In the research, Michel Foucault's terminology was used to understand how such works realize the said indoctrination, thus aiming to make Foucault's theory usable in a literary analysis. The examination of the perspectives of Erwin Piscator and Bertolt Brecht, two seminal figures in the realm of Marxist-societalist theater, is undertaken in the context of unraveling and legitimizing theater productions that seek to function as instruments of ideological indoctrination. While socialist realism, an aesthetic theory developed to serve the national interests of the Soviet state, has been identified as an ideology belonging to the nation of Russia, it has been suggested that the elements of revolutionary romanticism (ideal/ideological future imagination) and positive type (ideal/ideological person fiction) can be evaluated as an essence that transcends the homeland of the theory and permeates all societalist literary productions.This point of view constituted the examination titles of the societalist theatre plays sampled in the thesis. Accordingly, it was ascertained that the theatrical productions written between 1946 and 1960 and examined in this study were created with the objective of elevating societal awareness, stimulating societal awakening, providing societal guidance, and effecting societal change within the societal context in which they were produced. It was discerned that these productions were shaped in accordance with societalist criteria. Furthermore, the study endeavors to elucidate the symbiotic relationship between art and ideology.