Theme of tragedy in Wajdi Mouawad's tideline and scorched plays

From the book poetika which has been considered as the first work including the rules of the art of drama and which has been written by Aristotle until today, it seemed certain grand changes have occurred in dramatic texts and these changes took place under the leadership of drama writers until the last century. Wajdi Mouawad is positioned in a unique place for today's theater world, by having an attitude as denying the conflict with writing and also trying to create his own theater based on the collaboration of the dramatic (mimetic) and the narrative (diegetic) where the written texts turn into theather texts with the reduction of the language and also where the director takes a more important place than the others. Mouawad who started his art life by staging his own plays in the 90's, has gained an important and original place in the contemporary western theater with his works. In the first part of the study, the definition, emergence and development of tragedy in itself; Aristotle's BC the theory of tragedy that he created in the axis of the fifth century tragedy, three great tragedy writers who wrote these tragedies and whose works remain today; The lives of Aiskhylos, Sofokles and Euiripides, their intellectual, moral and aesthetic relationships with the society they live in are examined. Considering the relationship of tragedy with the social, the characteristics of the Ancient Greek society, where the tragedy was at its peak, and its function at that time were touched on and historical transformation of tragedy from Ancient Greece to today is traced. Considering the transformation of tragedy into tragic, which is a philosophical concept at the beginning of the last century, the views of Hegel, Nietzsche, M. Scheler and René Girard on the tragic and tragedy are included. Later on the personal life and art life of Wajdi Mouawad, the tetralogy and the Blood of Promises, which are part of the Tideline and Scorched plays examined in this study, the use of classical tragedy elements and the reflections of the Ancient Greek tragedies in dramatic writing are examined as the plays summaries, fictions and people have been mentioned. The elements that carry the plays to a contemporary axis have been examined through the functions they have placed on the tragic one, and the function and actuality of the tragedy as a dramatic form today has been opened to a debate.