Savaş sonrası tiyatroda yazınında karşı gerçekçi yaklaşımlar aracılığıyla mimetik gerçekçiliğin yeniden tanımlanması

The prevalent approach in both European and Turkish theater during the 20th century, has been "mimetic realism", as defined in Aristotle's Poetics and Plato's Republic. Mimetic realism has been adopted, without much questioning, in playwriting, staging, and acting methods. With regards to this, as the continuation of the ideals of Moscow Art Theater, theater has been attributed the function of conveying political/social messages to the audience, and of educating the audience. Obviously, under this imposition lie political and ideological reasons rather than artistic concerns. Anti-realist movement led by playwrights such as Beckett, Ionesco, Adamov, and Genet in the post-war period was found "too individualistic" by some and a false perception that this theater movement which was called "the theatre of the absurd" was limited to a certain period and place was intentionally created. Contrarily, anti-realist theater gave birth to the rise of playwrights who were able to create their own reality in theater, in various parts of the world including Turkey, and proved that conveying messages cannot be a concern of theater. In the light of these, being realistic/politic has lost its function as a criterion in the 21st century theater. It is now an obligation for both the theater people and the critics to focus on formalistic elements used in anti-realist theater writing and to question the meaning of realism to be able to catch the era.