Metin ve performansın ötesinde tiyatro oyunu

Theater plays are traditionally associated with their written texts or performances. In everyday language, we often say phrases like "I am reading a play" or "I am going to see a play." However, defining theater plays with texts and performances poses some conceptual challenges. A text is an object, while a performance is an event. Since they belong to distinct ontological categories, substituting one for the other is conceptually flawed. A play encompasses both the written text and the performance; however, they cannot fully define it. In discussions about a play's text, "text" and "play" can diverge, and similarly, "play" and "performance" differ in the context of a play's performance. Therefore, while a play exists in text and performance, it is not identical. In this thesis, I address the ontological status of plays, distinguishing them from texts and performances, and defend that plays are abstract artifacts that can have multiple instances. Within this framework, I critique the limitations of Platonist and creationist frameworks, developed in the context of musical works and relying on the traditional type/token distinction. These theories provide a rigid model, and their limitations become clear when considering the complexities of theater plays, failing to address variations in textual editions or performance interpretations. However, I argue that there can be different versions of the same play, and to defend this, I propose an alternative approach by adapting Nemesio García-Carril Puy's (2019) Hypothesis of Nested Types, a multi-layered type/token theory likewise formulated for musical works, to theater plays.