Self-rewriting in Turkish theatre on the sample of three works

The texts written in the past can become a new text by changing and transforming up to day. These texts which had a varied readership at the time they were written address a new readership with the new meaning they got. The texts which is rewritten in this manner find the opportunity to transfer from their current era to a new era. Transforming a text by different writer into a new text is called "rewriting". Our topic of study, "self-rewriting" is when an author rewrites an earlier work and names it differently. Authors can rewrite their old novel, story or poem with some changes and new arrangements in the forthcoming years. Samples of self-rewriting are encountered both in the World literature and Turkish literature. The concept of "self-rewriting" will be examined through the theatre genre in our study. At this point, the reason why we chose the genre of theatre is that there is a technical change in the process of transforming the works that were previously published as stories or novels into theatre by their authors. Concordantly, three plays will be examined in our thesis: The play called Yaprak Dökümü, staged in 1943 by Reşat Nuri Güntekin, one of the remarkable writers of Turkish literature, was first written in the form of a novel with the same name. Aziz Nesin's play Toros Canavarı, published in 1962, was first written in the form of a short story in 1953. Haldun Taner transformed his story Ayışığında Çalışkur, which he wrote in 1954, into a play with the name Ayışığında Şamata in 1977. It is inevitable that there will be some changes in these works, which have been rewritten by transforming from a novel or story into a play. Because the plays written for the purpose of staging are limited to a certain period of time and the basic narrative technique in theatre is dialogue, unlike novels and stories. Therefore, the authors who we will examine have made technical changes along with the content while transforming their works into plays. In this study, the changes made while transforming these works into theatrical text will be tried to be determined. While making this determination, a certain framework will be tried to be drawn and the changes will be discussed under four main headings. Thus, how the self-rewriting process takes place in these works will be revealed perceptibly.