Parody in the Turkish theatre after 1980

This study aims to establish a theoretical framework of parody and to determine the forms of utilization and reasons of parody in Turkish theater after 1980. The theoretical plane of the twentieth century, particularly focusing on the context and the reader as well as the studies on the parody vary in formal, thematic and functional sense. In order to demonstrate such different aspects the study defines and classifies the parody under its theoretical headings. The study indicates several parody types according to what the parody`s sub-text might be and determinated attitude towards converted target context. The existence of such various features as literary, cultural, social and ideological in each era is perceived as the reason for the difference in parody definitions. It is asserted that whatever the diversity of parody classifications indicate, this technique strengthens the intertextual studies, and that these studies lead to different perspectives. The study particularly includes the postmodern period in which the literary genres and discourses find interrogation areas on a multi-layered plane. Accordingly, texts are selected from the Turkish theater after the 1980s. In particular, the parody texts created during this period are intended to articulate the dominant discourses that differ from period to period, beyond serving a text or genre.