Elements of Alevi- Bektashi in Turkish theater after 1980

Differences in religious understanding were observed among the Turkish society, which started to Islamize with the 10th century. In this society, which recognized Islam through war or agreement, differences began to emerge around the 15-16 century. Alevis, who form a wing of this separation; in the course of time they faced assorted accusations known by names such as Qizilbash, Haydari, Rafizi. Within this understanding, Alevis carry the characteristics of their own culture; without migration, women live without hiding. They see the self as the main vehicle on the road to God. The shaman worships in harmony with nature with the belief of the Sky God, and at the same time, they have the understanding of patrol with contrast. For Alevis, who met with a symbolic understanding such as Hurufism through Nesîmî and deepened the meaning they attributed to the metaphor of light with Hallac-ı Mansur, hulûl and tecelli understandings come to prominence. In a widespread manner heterodox and metadox by some, Alevism adheres to the Hak-Muhammad-Ali trilogy, which is thought to be inspired by Buddhism and Christianity, upon accepting the Islamic prophet; on the other hand, The Qur'an seems to have carried more importance by Bektashis. Although the guiding understanding of this group, whose Shia connection was established in the 16th century, was Ali, and their so-called devotion to Caferism is also under the influence of the same period. Alevis, who are the representatives of oral culture, preserve their existence by being in harmony with the saz, history, nature and each other. In addition to this, the drama-like example of this culture, which includes games based on words and animation, is Taziye. Its similarities with tragedy and epic play are discussed. The examples of slander faced by Alevis and Bektashis are clearly seen in the play Mum Söndü, which is an example of modern theatre. For this thesis, which was prepared from this point of view, from the plays after 1980, Ali Berktay's Kerbela, Recep Bilginer's Sevgi ve Barış, Mahmut Gökgöz's Pir Sultan Abdal, Turgay Nar's , Divane Ağaç, Hüseyin Erdoğan's Yol, Ter, Gül, Hasan Erkek's Kutsal Döngü, Remzi Özçelik's Hacı Bektaş, Gönül Akkuş's Allı Evlendi, Pullu Gelin Oldu and Semih Çelenk's Gelin, Tanış Olalım were evaluated. It has been seen that these performance have the features given in the theoretical framework.