Identify the characteristics of the woman who builds the main Plot in the traditional Turkish theatre motived comedies: İstanbul Efendisi, Yedi Kocalı Hürmüz, Kanlı Nigar

This papers objective is to identify the characteristics of the woman who builds the main plot in the Traditional Turkish Theatre motived comedies. One of the veins that the Turkish theatre which met the European Theatre feeds on is the Traditional Turkish Theatre. There are writers that are showed up with a purpose to unite Western Theatre and Traditional Turkish Theatre to create a unique 'theatre'. When these writers took the Traditional Turkish Theatre as a motive in the plays, they had the 'woman' who plots with or without knowing. The framework of the study is dealt with in the introduction part which is the first section of the study. Historical information took place in the same time in order to build the study on a solid ground. The model plays that are examined in the study comes from the Turkish improvisational theatre tradition but that are penned. Because of that, in the second section of the study the genres in the Turkish Traditional Theatre are explained while handling Turkish Traditional Theatre. Explanation of these genres considered as significant, because it is clearly understood that the model plays that are examined are using the comedy techniques of the Turkish Traditional Theatre. In the third section, the comedy styles of the Turkish Traditional Theatre and how the women characters and typecastings used in the show and how the plot is used in this genre are referred. The fourth section of the study is dedicated to the examination of the model plays. In this section respectively, the plays of Müsahipzade Celal Efendi's "Istanbul Efendisi", Sadık Şendil's "Kanlı Nigâr" and again Sadık Şendil's "Yedi Kocalı Hürmüz" are examined. The conclusion section is the evaluation part of the study. In the wiev of such information that took place on the third section deduces made from the information that took place on the fourth section. Traditional elements dwelled on the three plays that are chosen as models and written in the twentieth century. The similar points of the three plays are indicated and divergent points are shown.