yer vermemi\u015ftir.<\/p>\n
Avrupa tiyatrosunun kayna\u011f\u0131 hakk\u0131nda g\u00fcn\u00fcm\u00fczde kabul edilen teoriler Antik Yunan uygarl\u0131\u011f\u0131na dayand\u0131r\u0131lmaktad\u0131r. Prof. Dr. \u00d6zdemir Nutku\u00a0\u00a0 D\u00fcnya Tiyatrosu Tarihi adl\u0131 eserinde tiyatronun kayna\u011f\u0131 hakk\u0131nda \u00f6nemli bilgiler sunuyor olmas\u0131na kar\u015f\u0131n, Maya \u00fclkesinin Avrupa belle\u011finden uzakta oldu\u011fu d\u00f6nemlere ait tiyatro \u00f6rneklerine de\u011finmemi\u015ftir (1). Benzer bir yakla\u015f\u0131mla,Prof. Dr. Sevda \u015eener D\u00fcnden Bug\u00fcne Tiyatro D\u00fc\u015f\u00fcncesi (2) adl\u0131 eserinde Amerika k\u0131tas\u0131ndan ilk tiyatro \u00f6rneklerine yer vermemi\u015ftir. Amerika k\u0131tas\u0131ndan tiyatro \u00f6rnekleri her iki kaynakta da Avrupa tiyatrosu ba\u011flam\u0131nda ele al\u0131nm\u0131\u015ft\u0131r. Oscar G. Brocket\u2019in\u00a0\u00a0\u00a0 History of Thatre (3) adl\u0131 kitab\u0131nda da Amerika\u2019n\u0131n ke\u015ffinden \u00f6nce Maya Uygarl\u0131\u011f\u0131n\u0131n g\u00f6steri sanat\u0131na de\u011finilmemi\u015f olmas\u0131 dikkat \u00e7ekicidir. Bunun nedeni, \u00e7o\u011fu zaman Amerika k\u0131tas\u0131n\u0131n tarihinin Christopher Columbus\u2019un 1492 y\u0131l\u0131nda k\u0131tay\u0131 ke\u015ffetmesiyle ba\u015flad\u0131\u011f\u0131n\u0131n d\u00fc\u015f\u00fcn\u00fclmesi olabilir. Ger\u00e7ekte, Colombus\u2019un ke\u015ffi, k\u0131tan\u0131n sadece co\u011frafya a\u00e7\u0131s\u0131ndan Avrupa bilim \u00e7evrelerine tan\u0131t\u0131lmas\u0131d\u0131r. 1492 y\u0131l\u0131ndan \u00f6nce Avrupa bilim \u00e7evrelerince varl\u0131\u011f\u0131 bilinmeyen bu k\u0131tan\u0131n ke\u015ffedilmesi ve Amerika ad\u0131n\u0131 almas\u0131 k\u0131tan\u0131n an\u0131lan tarihten \u00f6nceki d\u00f6nemlerde ait tarihinin \u201ckolektif bilincin\u201d (4) ve \u201cresmi tarihin\u201d (5) d\u0131\u015f\u0131nda tutulmas\u0131na neden olmu\u015ftur. Ayr\u0131ca, her ne kadar co\u011frafik konumu Avrupa\u2019dan daha bat\u0131da olsa bile Bat\u0131 tiyatrosunun k\u00f6keninin Antik Yunan\u2019a dayand\u0131\u011f\u0131 kabul edildi\u011fi i\u00e7in Maya Uygarl\u0131\u011f\u0131n\u0131n g\u00f6steri sanat\u0131 Bat\u0131 tiyatrosu kapsam\u0131nda ele al\u0131nmaz. Bu anlam\u0131yla Bat\u0131 tiyatrosu olarak nitelendirilen olgu Maya tiyatrosu \u00f6rneklerini kapsamad\u0131\u011f\u0131 i\u00e7in s\u00f6z\u00fc edilen \u00fc\u00e7 tiyatro insan\u0131 da Maya tiyatrosu \u00f6rneklerine eserlerinde
yer vermemi\u015ftir.<\/p>\n
\u00d6te yandan, M.S. 300 ve M.S. 900 y\u0131llar\u0131 aras\u0131nda alt\u0131n \u00e7a\u011f\u0131n\u0131 Maya Uygarl\u0131\u011f\u0131n\u0131n Avrupa tiyatrosundan etkisinden uzak kendine \u00f6zg\u00fc g\u00f6steri sanat\u0131 oldu\u011funu g\u00fcn\u00fcm\u00fczde kan\u0131tlanm\u0131\u015ft\u0131r. Maya g\u00f6steri sanat\u0131 gelene\u011finin sona erdi\u011fi d\u00fc\u015f\u00fcncesi ise \u201cg\u00fcn\u00fcm\u00fczde Guatemala\u2019da n\u00fcfusunun y\u00fczde 55-65\u2019inin Maya oldu\u011fu\u201d (6) ger\u00e7e\u011finden hareketle, bu insanlar\u0131n hala Maya g\u00f6steri sanat\u0131 gelene\u011fini s\u00fcrd\u00fcrd\u00fckleri bir ba\u015fka ger\u00e7ektir. Bu makalede, Amerika ad\u0131n\u0131 almadan \u00f6nce k\u0131tada h\u00fck\u00fcmranl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcren Maya Uygarl\u0131\u011f\u0131n\u0131n g\u00f6steri sanat\u0131 \u00f6rneklerinden Rabinal Achi\u2019nin \u00fclkemiz tiyatro \u00e7evrelerine tan\u0131t\u0131lmas\u0131 ama\u00e7lanmaktad\u0131r.\u00a0 <\/p>\n
Maya Uygarl\u0131\u011f\u0131n\u0131n tarihi hakk\u0131nda ilk bilgiler belirsiz olmas\u0131na kar\u015f\u0131n, tarih\u00e7iler Maya Uygarl\u0131\u011f\u0131 tarihini \u00fc\u00e7 d\u00f6nemde ele alma e\u011filimindedir: Erken Klasik D\u00f6nem (M.\u00d6. 1500-M.S.300), Klasik D\u00f6nem (M.S. 300-900) ve Klasik Sonras\u0131 D\u00f6nem (900-1697). Erken Klasik D\u00f6nem g\u00fcn\u00fcm\u00fczde Guatemala s\u0131n\u0131rlar\u0131 i\u00e7inde kalan b\u00f6lgede ba\u015flar. Bu d\u00f6nemde Mayalar \u201ctar\u0131ma dayal\u0131,sanat ve bilimde geli\u015fmi\u015f yerle\u015fik\u201d(7) bir toplum kurmu\u015ftur. Yine bu d\u00f6nemde Mayalar\u0131n olduk\u00e7a geli\u015fmi\u015f bir takvim, hiyeroglif yaz\u0131s\u0131 kulland\u0131klar\u0131 ve \u00e7ok \u00f6nemli sanat eserleri \u00fcrettikleri de bilinmektedir. 1697 y\u0131l\u0131nda \u0130spanyol istilac\u0131lar\u0131n son Maya toplulu\u011funu da ba\u015fkent Tayasal\u2019\u0131n d\u0131\u015f\u0131na s\u00fcrmeleriyle uygarl\u0131\u011f\u0131n sona erdi\u011fi kabul edilmektedir.\u00a0\u00a0\u00a0 \u0130spanyollar Maya k\u00fclt\u00fcr\u00fcn\u00fc ve dinini sistematik bi\u00e7imde yok etmi\u015ftir. Zeaolus Katolik misyonerleri t\u00fcm Maya kitaplar\u0131n\u0131 ve kay\u0131tlar\u0131n\u0131 yakm\u0131\u015ft\u0131r. Astronomi, matematik, sanat ve bilim adamlar\u0131 \u0130spanyollar taraf\u0131ndan b\u00fcy\u00fck \u00e7iftliklerde i\u015f\u00e7i olarak \u00e7al\u0131\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r.\u00a0 <\/p>\n
G\u00fcn\u00fcm\u00fczde Maya g\u00f6steri\u00a0 sanat\u0131n\u0131n izlerine Guatemala\u2019n\u0131n da\u011fl\u0131k b\u00f6lgelerinde rastlanmaktad\u0131r.\u00a0 Avrupa tiyatrosu terminolojine g\u00f6re dans tiyatrosu olarak nitelendirilebilecek bu g\u00f6steriler H\u0131ristiyanl\u0131k etkisi alt\u0131nda zaman i\u00e7inde de\u011fi\u015fime u\u011fram\u0131\u015ft\u0131r. Rabinal Achi de bu ba\u011flamda de\u011fi\u015ferek Mayalar\u0131n \u00f6l\u00fcm d\u00fc\u015f\u00fcncesiyle\u00a0\u00a0\u00a0 \u0130spanyollar\u0131n i\u015fgal ederek ruhu ar\u0131nd\u0131rma d\u00fc\u015f\u00fcncesinin harmanland\u0131\u011f\u0131 bir g\u00f6steri haline d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr(8). Rabinal Achi g\u00fcn\u00fcm\u00fcz modern Maya topluluklar\u0131nda hala sahnelenmektedir. Beyaz adam\u0131n Amerika k\u0131tas\u0131n\u0131 ke\u015ffinden \u00f6nce varolan ve k\u0131smen de olsa varl\u0131\u011f\u0131n\u0131 hala s\u00fcrd\u00fcren Maya tiyatrosun \u201ctam anlam\u0131yla dramatik olarak tan\u0131mlanabilecek en \u00f6nemli \u00f6rneklerden biri Rabinal Achi (9)\u201ddir. Oyunun ilk sahneleni\u015fi 12. y\u00fczy\u0131la kadar dayan\u0131r.(10) B\u00fct\u00fcn\u00fcyle
Maya dilinde sahnelenen oyun ilk defa Hollanda as\u0131ll\u0131 Frans\u0131z rahip Charles Etienne Brasseur Bourbourg taraf\u0131ndan orijinal dili ve Frans\u0131zca \u00e7evirisi ile birlikte yay\u0131nlanm\u0131\u015ft\u0131r(11). 1856 y\u0131l\u0131nda oyunun ge\u00e7ti\u011fi ve g\u00fcn\u00fcm\u00fczde Guatemala s\u0131n\u0131rlar\u0131 i\u00e7inde kalan Rabinal\u00a0\u00a0\u00a0 \u015fehrinden ayr\u0131lan Brasseur 1962 y\u0131l\u0131nda Grammaire de la langue quichee ve Rabinal-Achi ou le drame-ballet du tun ad\u0131 alt\u0131nda iki ciltlik eserini yay\u0131nlam\u0131\u015ft\u0131r: Brasseur, birinci ciltte Maya dilinin grameri hakk\u0131nda bilgi verirken ikinci ciltte Rabinal Achi\u2019nin orjinal ve Frans\u0131zca \u00e7evirisini kar\u015f\u0131l\u0131kl\u0131 sayfalarda okuyucuya aktar\u0131r.(12) B\u00f6ylece yaz\u0131l\u0131 metin haline gelen Rabinal Achi, Brasseur taraf\u0131ndan k\u00f6keni Antik Yunan\u2019a dayanan Bat\u0131 tiyatrosunun terminolojisiyle dans tiyatrosu olarak s\u0131n\u0131fland\u0131r\u0131lm\u0131\u015ft\u0131r. Bu tan\u0131mlaman\u0131n asl\u0131nda k\u00f6keni Antik Yunan\u2019a dayanan Maya Uygarl\u0131\u011f\u0131ndan \u00e7ok farkl\u0131 bir gelene\u011fin adland\u0131rmas\u0131 oldu\u011fu a\u00e7\u0131kt\u0131r. Rit\u00fcel ve mimesise dayanan Avrupa tiyatro gelene\u011finin terminolojisini, bu gelenekten \u00e7ok uzakta geli\u015fen ve k\u0131s\u0131tl\u0131 da olsa varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcren Maya uygarl\u0131\u011f\u0131n\u0131n g\u00f6steri sanat\u0131n\u0131 tan\u0131mamak i\u00e7in kullanmak yanl\u0131\u015f anla\u015f\u0131lmalara yol a\u00e7abilir. Tamara Underiner\u2019in Notes from the Ivory Labyrinht of Solitude ba\u015fl\u0131kl\u0131 makalesinde\u00a0\u00a0\u00a0 Rabinal Achi\u2019yi \u201cAntik Yunan tiyatrosuyla kar\u015f\u0131la\u015ft\u0131rman\u0131n hakl\u0131 olmayaca\u011f\u0131\u201d(13) g\u00f6r\u00fc\u015f\u00fcn\u00fc savunur.. Avrupa tiyatrosu ve Maya tiyatrosu aras\u0131ndaki fark g\u00f6steriden beklenenle, g\u00f6sterim kavram\u0131n\u0131n \u00f6zelliklerinden kaynaklanmaktad\u0131r. Bat\u0131, sadece Maya tiyatrosu \u00f6rneklerine de\u011fil belki de kendi gelene\u011fine uymayan her t\u00fcrl\u00fc g\u00f6steri sanat\u0131 \u00f6rne\u011fine kendi gelene\u011fi \u00e7er\u00e7evesinde yakla\u015farak \u201crit\u00fcel dram, t\u00f6rensel dram, festival dram ve dans dram (14)\u201d gibi zorlama, eksik ve yavan tan\u0131mlamalarda bulunmu\u015ftur. Bu nedenle, Rabinal Achi\u2019nin b\u00fct\u00fcn\u00fcyle ayr\u0131 bir metin olarak \u201cd\u00f6ng\u00fcsel trajedi, \u00f6v\u00fcnme t\u00f6reni, tekrar edilen diyaloglar, tun ritmi ve a\u011fa\u00e7 borular\u0131n m\u00fczi\u011fi e\u015fli\u011finde(15)\u201d sahnelenen bir Maya tiyatrosu \u00f6rne\u011fioldu\u011funu kabul etmek gerekir. Hatta, t\u00fcm oyunu Maya tarihinin dramatize edilmesi olarak da kabul etmek m\u00fcmk\u00fcnd\u00fcr(16).\u00a0 <\/p>\n
Oyunun iki ad\u0131 vard\u0131r: birincisi\u00a0\u00a0\u00a0 Rabinal Achi\u00a0 (Rabinal Adam\u0131), ikincisi ise oyuncular birbirleriyle konu\u015fmad\u0131klar\u0131 zaman s\u00fcrekli dans ettikleri i\u00e7in Xajoj Tun (Borular\u0131n Dans\u0131)(17). Oyunda Rabinal Achi ad\u0131n\u0131 alan karakter da\u011flar\u0131n doruklar\u0131ndaki Rabinal \u015fehrini y\u00f6neten \u015eef Be\u015f Y\u0131ld\u0131r\u0131m\u2019\u0131n hizmetindedir. Bu iki karakter topraklar\u0131n\u0131 korurken Kartal ve Jaguar ad\u0131n\u0131 al\u0131rlar. Ayr\u0131ca \u015eef Be\u015f Y\u0131ld\u0131r\u0131m\u2019\u0131n bakire k\u0131z\u0131, kar\u0131s\u0131 xoqajav (bayan \u015fef) ve k\u00f6leler oyunun di\u011fer oyun ki\u015fileridir. B\u00fct\u00fcn bu karakterlerin kar\u015f\u0131s\u0131nda Brasseur\u2019un 1862 y\u0131l\u0131 metninde belki de Rabinal Achi kar\u015f\u0131tl\u0131\u011f\u0131n\u0131 daha belirgin hale getirmek i\u00e7in Quache Achi olarak \u00e7evirdi\u011fi Kaweq K\u2019eche Winag (Quache Halk\u0131n\u0131n Adam\u0131-Cawek) vard\u0131r. Oyunun ba\u015f\u0131nda, Rabinal Achi kom\u015fu Quache \u015fehrinde ya\u015fayan hain Cawek\u2019i yakalar ve ikinci b\u00f6l\u00fcmde \u015eef\u2019in huzuruna getirir. Oyunun sonunda, Cawek\u2019in ba\u015f\u0131 kesilmesine ra\u011fmen onu yakalayanlar\u0131n duydu\u011fu sayg\u0131 ve kendisine verdikleri onur sayesinde soylulu\u011fundan hi\u00e7bir \u015fey yitirmez.\u00a0 <\/p>\n
Oyunda,\u00a0\u00a0\u00a0 \u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m ve Rabinal Achi, Cawek\u2019in bozmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 eski d\u00fczenin savunucusudur. Rabinal topraklar\u0131 Quache halk\u0131 taraf\u0131ndan i\u015fgal edilmesine ra\u011fmen, i\u015fgal karar\u0131n\u0131 Quache halk\u0131n\u0131n liderleri almam\u0131\u015ft\u0131r. Cawek kendi ba\u015f\u0131na hareket etmektedir. \u0130lk b\u00f6l\u00fcmde seyirci, dikd\u00f6rtgen bi\u00e7iminde kesilmi\u015f ta\u015f blo\u011fun \u00fcst\u00fcnde ilk \u00f6nce balta ve kalkanla donanm\u0131\u015f mask takan iki oyuncu ile kar\u015f\u0131la\u015f\u0131r.\u00a0\u00a0\u00a0 \u0130ki sava\u015f\u00e7\u0131 birbirleriyle vuru\u015fmak yerine konu\u015fmay\u0131 tercih eder. Oyuncular konu\u015fmaya ba\u015flarken ve bitirirken kar\u015f\u0131s\u0131ndakinin ad\u0131n\u0131 s\u00f6yleyerek, seyircinin kendilerini tan\u0131malar\u0131n\u0131 sa\u011flar. Amerikan \u00c7akal\u0131 (18) ba\u015f\u0131na benzer ba\u015fl\u0131k giyen oyuncu Rabinal Achi\u2019dir. Rabinal Achi kar\u015f\u0131s\u0131ndaki jaguar ba\u015fl\u0131kl\u0131 oyuncuya Kaweq K\u2019eche Winag (Quache Halk\u0131n\u0131n Adam\u0131-Cawek) diye hitap ederek yan\u0131t verir. Her iki oyuncunun g\u00f6r\u00fcn\u00fcm\u00fcn\u00fc, Rabinal Achi temsilini Guatemala\u2019da izleyen Dennis Tedlock \u015f\u00f6yle tan\u0131mlar:<\/p>\n
Tahtadan yap\u0131lm\u0131\u015f maskeleri alt\u0131n rengine boyal\u0131 y\u00fcz k\u0131sm\u0131 d\u0131\u015f\u0131nda
insana benzer boyanm\u0131\u015ft\u0131r. Rabinal\u2019in mask\u0131n\u0131n kenar\u0131 mavi, Cawek\u2019in ise
ye\u015fil boyal\u0131d\u0131r. Yerel dilin g\u00f6sterdi\u011fine g\u00f6re ye\u015fil ve mavi ayn\u0131 rengin
tonlar\u0131d\u0131r. (…) Rabinal\u2019in ka\u015flar\u0131 \u00e7at\u0131k, Cawek\u2019in y\u00fcz ifadesi ise daha
sakindir.(19)<\/p>\n
Rabinal ve Cawek devinerek birbirleriyle konu\u015furlar. Rabinal taraf\u0131ndan yakalanan Cawek, yapt\u0131\u011f\u0131 hatan\u0131n fark\u0131ndad\u0131r. Ancak, ge\u00e7mi\u015fte ayn\u0131 saflarda sava\u015fan iki sava\u015f\u00e7\u0131 birbirlerinin onurunu k\u0131r\u0131c\u0131 s\u00f6zler s\u00f6ylemekten ka\u00e7\u0131n\u0131rlar. Konu\u015fmalar\u0131na hep ayn\u0131 \u015fekilde ba\u015flarlar. Oyun da ilk s\u00f6zleri s\u00f6yleyen Cawek konu\u015fmas\u0131n\u0131 \u201cDilerim g\u00f6k ve yer seninle olsun, efendim\/Zaferlerin insan\u0131\/Rabinal Adam\u0131(20)\u201d s\u00f6zleriyle bitirirken Rabinal konu\u015fmas\u0131na \u201cDinle!\/Cesur adam (21)\u201d diyerek ba\u015flar. Oyun boyunca Rabinal ve Cawek aras\u0131nda ge\u00e7en t\u00fcm konu\u015fmalar birbirlerini onurland\u0131r\u0131c\u0131 s\u00f6zlerle ba\u015flay\u0131p bitmesine ra\u011fmen her ikisi de birbirleriyle g\u00f6z g\u00f6ze gelmemeye dikkat ederler. Cawek niyetinin \u015eef Be\u015f Y\u0131ld\u0131r\u0131m\u2019\u0131 \u00f6ld\u00fcrmek oldu\u011funu oyunun hemen ba\u015f\u0131nda, her iki sava\u015f\u00e7\u0131n\u0131n ilk kar\u015f\u0131la\u015fmas\u0131nda s\u00f6yler. Rabinal elinde baltas\u0131 ve kalkan\u0131 oldu\u011fu halde Cawek\u2019i ipiyle yakalar. Brasseur\u2019un metnine g\u00f6re Cawek\u2019in yakalanmas\u0131 Rabinal\u2019in birinci konu\u015fmas\u0131 ile ikinci konu\u015fmas\u0131 aras\u0131ndaki bo\u015flukta ger\u00e7ekle\u015fir. En son ger\u00e7ekle\u015ftirilen sahnelemelerinde ise ip ve yakalama sahnesi oyunun sonundad\u0131r(22).\u00a0 <\/p>\n
Rabinal\u2019in ikinci konu\u015fmas\u0131, yakaland\u0131\u011f\u0131 ki\u015finin kimli\u011fini \u00f6\u011frenmek amac\u0131yla sordu\u011fu sorulardan olu\u015fur. B\u00f6ylece, yakalad\u0131\u011f\u0131 ki\u015finin y\u0131llar \u00f6nce birlikte sava\u015ft\u0131\u011f\u0131 Cawek oldu\u011funu anlamad\u0131\u011f\u0131 ortaya \u00e7\u0131kar. \u201cBulutlardan do\u011fmad\u0131n m\u0131?\/\u00c7i\u011fden do\u011fmad\u0131n m\u0131\u201dsorular\u0131yla Rabinal kar\u015f\u0131s\u0131ndaki yabanc\u0131n\u0131n da\u011flar\u0131n doruklar\u0131ndaki Rabinal \u015fehrinden olmad\u0131\u011f\u0131n\u0131 ima etmektedir. Cawek\u2019in bu sorulara yan\u0131t\u0131 m\u00fczik ve dans\u0131n birbiri ard\u0131nda sergilendi\u011fi ara oyundan sonra gelir. M\u00fczik bitince sahnenin soluna uzun bir taht konur. \u015eef Be\u015f Y\u0131ld\u0131r\u0131m taht\u0131n soluna oturur(23). Bu\u00a0\u00a0\u00a0 \u015fekliyle sahnenin arkas\u0131nda\u00a0\u00a0 \u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m\u2019\u0131n saray\u0131n\u0131n bulundu\u011fu duygusu yarat\u0131l\u0131r. Sonunda\u00a0 Cawek, Rabinal\u2019e cevap vermeyi istemedi\u011fini \u201cDa\u011flar\u0131m\u0131 ve vadilerimi s\u00f6ylemek zorunda m\u0131y\u0131m?\u201d diyerek belirtir. Rabinal\u2019in Cawek\u2019i\u00a0\u00a0\u00a0 \u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m\u2019\u0131n huzuruna \u00e7\u0131kartma tehdidi sorular\u0131n yan\u0131tlanmas\u0131n\u0131 sa\u011flar. Cawek kimli\u011fini a\u00e7\u0131k\u00e7a s\u00f6ylemek yerine Quiche topraklar\u0131ndan iki yerin ad\u0131n\u0131 s\u00f6yler. Rabinal, kimli\u011fini a\u00e7\u0131klamak istemeyen Cawek\u2019i tan\u0131m\u0131\u015ft\u0131r. \u201cYard\u0131m etmek zorunda oldu\u011fum biri olman ne korkun\u00e7.\u201ddiyerek Cawek\u2019i hem k\u00fc\u00e7\u00fck hem de b\u00fcy\u00fck karde\u015fleri olarak selamlayan arkada\u015flar\u0131na haber verir. Cawek\u2019in Rabinal topraklar\u0131na ilk defa gelmemi\u015ftir. Quiche ve Rabinal sava\u015f\u00e7\u0131lar\u0131 uzun y\u0131llar boyunca d\u00fc\u015fmanlar\u0131yla omuz omuza sava\u015fm\u0131\u015ft\u0131r.\u00a0 <\/p>\n
Kar\u015f\u0131s\u0131ndaki sava\u015f\u00e7\u0131n\u0131n kim oldu\u011funu anlayan Rabinal, onu yapt\u0131klar\u0131ndan dolay\u0131 azarlar. Bunlar\u0131n i\u00e7inde en \u00f6nemlisi ormanda \u015eef Be\u015f Y\u0131ld\u0131r\u0131m\u2019\u0131 tuza\u011fa d\u00fc\u015f\u00fcrmek i\u00e7in \u00e7\u0131kartt\u0131\u011f\u0131 vah\u015fi hayvan sesleridir. Dennis Tedlock, Popol Voh\u2019un a\u011fz\u0131ndan bu eylemi \u015fu s\u00f6zlerle a\u00e7\u0131klar:<\/p>\n
Da\u011flar\u0131n doruklar\u0131na \u00e7\u0131karlar, Amerika \u00c7akal\u0131 veya tilki gibi
ba\u011f\u0131r\u0131rlard\u0131. (…) Bu di\u011fer halklar\u0131 tuza\u011fa d\u00fc\u015f\u00fcrmenin bir yoluydu. (…) Daha
sonra oralarda dola\u015fan bir iki ki\u015fi g\u00f6rd\u00fcklerinde \u00fcst\u00fcne \u00e7ullan\u0131rlard\u0131.(24) <\/p>\n
En basit \u015fekliyle, Maya sava\u015f\u00e7\u0131lar\u0131 has\u0131mlar\u0131n\u0131 tuza\u011fa d\u00fc\u015f\u00fcrmek i\u00e7in hayvan taklidi yaparlar veya taklidini yapt\u0131klar\u0131 hayvanlar\u0131n g\u00fcc\u00fcne sahip olduklar\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrler. Cawek\u2019in \u201cuyand\u0131r\u0131lmas\u0131 imkans\u0131z bir uykuda r\u00fcya g\u00f6r\u00fcyordum\u201d a\u00e7\u0131klamas\u0131na dayanarak yap\u0131labilecek daha do\u011fru bir a\u00e7\u0131klama ise sava\u015f\u00e7\u0131lar\u0131n yapt\u0131klar\u0131n\u0131n insana uygun olmad\u0131\u011f\u0131 i\u00e7in hayvan kimli\u011fine b\u00fcr\u00fcnd\u00fckleridir. Bu a\u00e7\u0131klama Rabinal\u2019in Cawek\u2019i yakalarken takt\u0131\u011f\u0131 hayvan ba\u015fl\u0131\u011f\u0131yla da \u00f6rt\u00fc\u015fmektedir. <\/p>\n
Rabinal, Cawek\u2019ten d\u00fc\u015fmanca davran\u0131\u015flar\u0131n\u0131n nedeni \u00f6\u011frenmek isterken, onu dokuz sava\u015f\u00e7\u0131y\u0131 \u00f6ld\u00fcrmekle su\u00e7lar. Rabinal topraklar\u0131na geli\u015f nedenini a\u00e7\u0131klarken Cawek \u201cToprak \u00fcst\u00fcne \u00e7al\u0131\u015f\u0131yorum\/S\u0131n\u0131rlar\u0131 yeniden belirliyorum\u201d diyerek as\u0131l amac\u0131n\u0131n toprak oldu\u011funu belli eder. Birinci b\u00f6l\u00fcm\u00fcn sonuna kadar Cawek\u2019in Rabinal topraklar\u0131na yapt\u0131\u011f\u0131 sald\u0131r\u0131 \u00fcst\u00fcne konu\u015fmalar geli\u015fir.\u00a0 <\/p>\n
\u0130kinci b\u00f6l\u00fcm\u00fcn ba\u015f\u0131nda \u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m ilk defa konu\u015fur ve Rabinal\u2019den Cawek\u2019i yan\u0131na getirmesini ister. Be\u015f Y\u0131ld\u0131r\u0131m, Rabinal\u2019den Cawek\u2019i huzuruna getirirken hayvan gibi \u00e7\u0131\u011fl\u0131k atmas\u0131n\u0131 \u00f6nlemesini ister. Di\u011fer bir de\u011fi\u015fle, Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m Cawek\u2019in insan benli\u011fiyle konu\u015fmak istemektedir.Cawek\u2019e su\u00e7lar\u0131n\u0131n bedelini \u00f6demesi i\u00e7in idama giden yolda farkl\u0131 y\u00f6ntemler sunulur. Birincisi,Cawek\u2019in hem b\u00fcy\u00fck hem de k\u00fc\u00e7\u00fck karde\u015fleri olarak tan\u0131mlanan on iki metal i\u015f\u00e7isine m\u00fckemmeliyete ula\u015fmalar\u0131 i\u00e7in yard\u0131m etmesidir. Olas\u0131l\u0131kla, Cawek metal i\u015f\u00e7ileri ekibinin on \u00fc\u00e7\u00fcnc\u00fc \u00fcyesi olacakt\u0131r.Ancak bu \u00fcyelik oyunda daha sonra a\u00e7\u0131kland\u0131\u011f\u0131 gibi Cawek\u2019in sadece kemiklerini vermesiyle ger\u00e7ekle\u015febilir.\u00a0\u00a0\u00a0 \u0130kinci y\u00f6ntem, Cawek\u2019in on iki alt\u0131n Jaguar ve Kartal\u2019a yine m\u00fckemmeliyete ula\u015fmalar\u0131 i\u00e7in yard\u0131m etmesidir. Oyunun sonunda Cawek idam edildikten sonra onlara kat\u0131l\u0131r. \u00dc\u00e7\u00fcnc\u00fcs\u00fc, idam edilmeden \u00f6nce Cawek\u2019in parlak metallerle s\u00fcslenmesidir. Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m idama haz\u0131rlanan Cawek\u2019in zafer kazanm\u0131\u015f gibi g\u00f6r\u00fcnebilece\u011fini ima etmektedir. D\u00f6rd\u00fcnc\u00fcs\u00fc, Maya dilinde hem \u201ciksir\u201d hem de \u201czehir\u201d anlam\u0131na gelen mayalanm\u0131\u015f baldan yap\u0131lan alkoll\u00fc bir t\u00fcr i\u00e7kiyi i\u00e7mesidir. Bu i\u00e7ki ayn\u0131 zamanda \u015feflerin i\u00e7kisi olarak da tan\u0131mland\u0131\u011f\u0131 i\u00e7in Cawek yine onurland\u0131r\u0131lmaktad\u0131r. Be\u015fincisi,\u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m\u2019\u0131n kar\u0131s\u0131n\u0131n dokudu\u011fu ve daha \u00f6nce hi\u00e7 kimsenin takmad\u0131\u011f\u0131 atk\u0131y\u0131 takmas\u0131d\u0131r. Alt\u0131nc\u0131 ve son y\u00f6ntem,\u00a0\u00a0\u00a0 \u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m\u2019\u0131n k\u0131z\u0131 ve Cawek\u2019in evlenmeleridir. B\u00f6ylece Cawek ve Rabinal halk\u0131 aras\u0131nda bir akrabal\u0131k olu\u015facakt\u0131r. Ancak bu y\u00f6ntem Cawek\u2019in i\u015fledi\u011fi su\u00e7lar nedeniyle ortadan kalkm\u0131\u015ft\u0131r. Ger\u00e7ekte sava\u015f meydanlar\u0131nda birlikte sava\u015fm\u0131\u015f iki halk aras\u0131nda b\u00f6ylesi bir evlilik do\u011fal olmas\u0131na ra\u011fmen, Cawek\u2019in yapt\u0131klar\u0131n\u0131n bunu engellemesi trajik bir etki yarat\u0131r(25).\u00a0 <\/p>\n
Cawek bu se\u00e7eneklere yan\u0131t olarak baltas\u0131n\u0131 ve kalkan\u0131n\u0131 kald\u0131rarak \u015eef Be\u015f Y\u0131ld\u0131r\u0131m\u2019a do\u011fru bir hareket yapar. K\u00f6leler taraf\u0131ndan sol kolu yakalanan Cawek durumu kabullenir ve Rabinal\u2019in ger\u00e7ek kaderini de\u011fi\u015ftirdi\u011fini s\u00f6yler. \u00dcr\u00fcn yeti\u015ftiremedi\u011fi i\u00e7in Rabinal topraklar\u0131na g\u00f6z dikti\u011fini ve bundan dolay\u0131 \u00fczg\u00fcn oldu\u011funu s\u00f6ylerken zehir mi yoksa iksir mi oldu\u011fu belli olmayan i\u00e7kiyi i\u00e7er. Kalkan\u0131 ve baltas\u0131 elinden d\u00fc\u015fer. Dikkatini elindeki i\u00e7ki kab\u0131na \u00e7evirerek \u201cAcaba bu benim atalar\u0131m\u0131n kafatas\u0131 m\u0131?\u201d diye sorar. Kendi kafatas\u0131n\u0131n da i\u00e7ki kab\u0131 m\u0131 olaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcrken, gelecekte belki kendi halk\u0131ndan olanlar\u0131n ellerinde i\u00e7ki kab\u0131na d\u00f6n\u00fc\u015febilece\u011fini d\u00fc\u015f\u00fcn\u00fcr. Cawek b\u00f6ylece gelecekte bir mit olarak ya\u015famaya devam edece\u011fini d\u00fc\u015flemektedir. Cawek\u2019in sorgulad\u0131\u011f\u0131 sadece kafatas\u0131n\u0131n kullan\u0131lma bi\u00e7imi de\u011fildir. Kol kemiklerinin de \u00e7\u0131ng\u0131rak sap\u0131, bacak kemiklerinin ise davul sopas\u0131 olaca\u011f\u0131n\u0131 s\u00f6yler. Kemiklerinin \u00e7\u0131kartt\u0131\u011f\u0131 sesi duyan insanlar hayrete kap\u0131lacakt\u0131r.\u00a0 <\/p>\n
\u0130\u00e7ki kab\u0131n\u0131 geri veren Cawek kendisine daha \u00f6nce s\u00f6z\u00fc edilen ve \u00f6l\u00fcm\u00fcn\u00fcn anlam\u0131n\u0131 daha da y\u00fcceltecek atk\u0131y\u0131 ister. Atk\u0131y\u0131 getiren k\u00f6le Cawek\u2019i atk\u0131n\u0131n simgeledi\u011fi anlam\u0131 zedeleyecek bir hareket
yapmamas\u0131 i\u00e7in uyar\u0131r ve atk\u0131y\u0131 boynuna dolar. Cawek bu kez sahnedeki m\u00fczisyenlere d\u00f6nerek, e\u011fer
Rabinal \u00e7alg\u0131lar\u0131n\u0131 de\u011fil de kendi halk\u0131n\u0131n \u00e7alg\u0131lar\u0131n\u0131 kullanm\u0131\u015f olsalard\u0131 yeri ve g\u00f6\u011f\u00fc titretecek bir m\u00fczik ortaya \u00e7\u0131karacaklar\u0131n\u0131 s\u00f6yler. K\u00f6le ve Cawek \u00e7al\u0131nan m\u00fczik e\u015fli\u011finde dans ederler. M\u00fczi\u011fin kesilmesiyle birlikte Cawek atk\u0131y\u0131 boynundan \u00e7\u0131kararak k\u00f6leye uzat\u0131r. Cawek\u2019in bir sonraki iste\u011fi \u015eef Be\u015f Y\u0131ld\u0131r\u0131m\u2019\u0131n k\u0131z\u0131yla dans etmektir. \u015eef bu iste\u011fi de kabul eder. Bakire k\u0131z aya\u011fa kalkar ve Cawek\u2019e do\u011fru ilerler. K\u0131za arkas\u0131ndaki bir k\u00f6le e\u015flik etmektedir. M\u00fczikle birlikte, k\u0131z ve Cawek y\u00fcz y\u00fcze dans etmeye ba\u015flarlar, asla birbirlerine dokunmazlar. M\u00fczik durunca dans boyunca k\u0131z\u0131n arkas\u0131nda duran k\u00f6le ve k\u0131z eski yerlerine d\u00f6nerler. Cawek konu\u015fmas\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr. Do\u011fruca kendisini idam edecek olan iki ki\u015fisinin yan\u0131na giden Cawek onlarla da dans etmek istedi\u011fini s\u00f6yler. Cawek\u2019i idam edecek jaguar ve kartal\u00a0\u00a0\u00a0 \u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m\u2019\u0131n emriyle Cawek ile dans etmek \u00fczere yerlerini al\u0131rlar. M\u00fczikle birlikte Cawek, Jaguar ve Kartal dans etmeye ba\u015flar. Dans\u0131n bitiminde Cawek Jaguar ve Kartal ile birlikte baltalar\u0131n\u0131n ve kalkanlar\u0131n\u0131n g\u00fcc\u00fcn\u00fc sergileyen bir oyun oynad\u0131klar\u0131n\u0131 s\u00f6yler. Cawek\u2019e g\u00f6re Rabinal halk\u0131n\u0131n Jaguar ve Kartal\u2019\u0131 kendi \u00fclkesindekilerden \u00e7ok daha zay\u0131f ve i\u015flevsizdir.\u00a0 <\/p>\n
B\u00f6ylece oyunda Cawek\u2019in son iste\u011fini s\u00f6yledi\u011fi yere gelinir. Cawek, \u015eef Be\u015f\u00a0 Y\u0131ld\u0131r\u0131m\u2019dan \u00fclkesini gidip g\u00f6rmek, vadilerinde dola\u015fmak ve vedala\u015fmak i\u00e7in 13 tane 20 g\u00fcnd\u00fcz ve 13 tane 20 gece s\u00fcre ister. Bu s\u00fcre g\u00fcn\u00fcm\u00fczde hala baz\u0131 da\u011f k\u00f6ylerinde kullan\u0131lmakta olan 260 g\u00fcnl\u00fck Maya takvimini an\u0131msatmaktad\u0131r. Bu takvime g\u00f6re 260 g\u00fcnl\u00fck y\u0131l 65 g\u00fcnden olu\u015fan 4 mevsime b\u00f6l\u00fcnm\u00fc\u015ft\u00fcr (26). Cawek\u2019in kendi \u00fclkesine veda iste\u011fine hi\u00e7 kimse yan\u0131t vermezken, sahnedeki herkes onun etraf\u0131nda dans etmek \u00fczere toplan\u0131rlar. Bir anlamda hepsi birden Cawek\u2019in da\u011flar\u0131n\u0131 ve vadilerini temsil etmektedir. Bir s\u00fcre dans ettikten sonra Cawek hi\u00e7 kimseden yan\u0131t beklemedi\u011fi ve diyaloga girmedi\u011fi son konu\u015fmas\u0131n\u0131 yapmaya ba\u015flar. Topraklar\u0131ndan hem ruhsal hem de bedensel ayr\u0131l\u0131\u015f\u0131 \u00fcst\u00fcne yapt\u0131\u011f\u0131 bu konu\u015fman\u0131n bir anlamda dua oldu\u011fu da d\u00fc\u015f\u00fcn\u00fclebilir. Konu\u015fmas\u0131n\u0131n sonunda Cawek Jaguar ve Kartal\u2019dan pen\u00e7e ve \u00e7enelerini kullanarak g\u00f6revlerini bitirmelerini ister. M\u00fczi\u011fin ba\u015flamas\u0131yla birlikte sahnedekiler Cawek\u2019in etraf\u0131n\u0131 sarar ve dans etmeye ba\u015flar. Dans\u0131n sonunda Cawek haricindekiler diz \u00e7\u00f6kerek atalar\u0131n\u0131n ruhlar\u0131 i\u00e7in dua eder.\u00a0 <\/p>\n
Rabinal Achi\u2019nin ba\u015f kahramanlar\u0131yla tarihsel fig\u00fcrler ve olay \u00f6rg\u00fcs\u00fcyle de tarihsel olaylar aras\u0131nda benzerlikler vard\u0131r. Oyunun dramatize etti\u011fi olaylar\u0131n k\u00f6keni Antik Maya uygarl\u0131\u011f\u0131na kadar dayanmaktad\u0131r (27). Oyun hakk\u0131nda en eski bilgiler Dos Pilas\u2019da ta\u015f bir merdivenin \u00fcst\u00fcnde bulunmu\u015ftur.Bu bilgilere g\u00f6re Tikal \u015fehrine yap\u0131lan sald\u0131r\u0131dan sonra \u015fehrin y\u00f6neticisinin s\u00fcrg\u00fcne g\u00f6nderilmesi ve Don Pilas\u2019a yap\u0131lan kar\u015f\u0131 sald\u0131r\u0131dan s\u00f6z edilmektedir. Daha sonraki y\u0131llarda Don Pilas\u2019da yap\u0131lan g\u00f6sterilerde bu durum temsil edilmi\u015ftir (28).\u00a0 <\/p>\n
Metinle Maya klasik d\u00f6nem olaylar\u0131 aras\u0131ndaki ba\u011flant\u0131lar ise net de\u011fildir. Ancak yine de oyunun sahnelendi\u011fi ta\u015f blok,\u00a0\u00a0\u00a0 \u015fark\u0131lar ve m\u00fczik klasik d\u00f6nemin \u00f6zelliklerinden kabul edilebilir.Ayr\u0131ca Dennis Tedlock bu ta\u015f blo\u011fun \u00fcst\u00fcndeki davul fig\u00fcr\u00fcn\u00fcn bir Maya klasik d\u00f6nem simgesi olarak 260 g\u00fcnl\u00fck takvimi temsil etti\u011fi d\u00fc\u015f\u00fcncesindedir(29). \u00d6te yandan, Maya klasik d\u00f6nem \u015fark\u0131lar\u0131 tek sesli ve koro taraf\u0131ndan seslendirilen eserlerdi. Rabinal Achi\u2019de g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi bir \u015fark\u0131da birden fazla karakter oldu\u011fu durumlarda ayn\u0131 \u015fark\u0131 i\u00e7inde d\u00f6n\u00fc\u015f\u00fcml\u00fc seslendirme yap\u0131l\u0131rd\u0131(30). Rabinal Achi\u2019de konu\u015fmalar genellikle monolog bi\u00e7imindedir ve m\u00fczik b\u00f6l\u00fcmler aras\u0131 ge\u00e7i\u015flerde dans esnas\u0131nda kullan\u0131l\u0131r. Bununla birlikte, hem Rabinal\u2019in hem de Cawek\u2019in konu\u015fmalar\u0131na birbirlerinin s\u00f6zlerinden al\u0131nt\u0131lar yaparak ba\u015flamalar\u0131 Maya klasik d\u00f6nemi \u015fark\u0131 formuna benzer. M\u00fczik sanat\u0131n\u0131n bi\u00e7imsel \u00f6zelliklerinden \u201c\u00f6nc\u00fcl ve soncul\u201d(31) c\u00fcmleleri gibi her iki karakter de kendisine sorulan soruyu vurgulayarak bir kere daha sorar ve ard\u0131ndan yan\u0131t\u0131n\u0131 verir. B\u00f6ylece oyunun ilk \u00f6rneklerinde konu\u015fmalar\u0131n m\u00fczik e\u015fli\u011finde yap\u0131ld\u0131\u011f\u0131n\u0131 ancak daha sonra m\u00fczik \u00e7\u0131kar\u0131larak konu\u015fma ve hareketin
\u00f6n plana \u00e7\u0131kt\u0131\u011f\u0131 resitatif bir g\u00f6steriye d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc bi\u00e7iminde yorumlanabilir.\u00a0 <\/p>\n
Rabinal Achi\u2019nin tahta boru ve\u00a0\u00a0\u00a0 tun ad\u0131 verilen \u00f6zel davulla seslendirilen m\u00fczi\u011fi Avrupa m\u00fczi\u011finden \u00e7ok farkl\u0131d\u0131r(32). Tiz seslerden olu\u015fan melodik pasajlar tahta borularla \u00e7al\u0131n\u0131r. Avrupa m\u00fczi\u011finin aksine melodik yap\u0131n\u0131n makamsal veya dizisel niteli\u011fi yoktur. Kullan\u0131lan enstr\u00fcmanlar\u0131n boyutlar\u0131n\u0131n farkl\u0131l\u0131\u011f\u0131 tek sesli m\u00fczi\u011fe \u00e7ok seslilik getirmesine ra\u011fmen armoni g\u00f6r\u00fclmez. Bu t\u00fcr m\u00fczi\u011fin eskiden beri Maya \u00fclkesinin da\u011flar\u0131nda seslendirildi\u011fi bilinmektedir.<\/p>\n
Maya \u00fclkesinin\u00a0\u00a0\u00a0 \u0130spanyollar taraf\u0131ndan i\u015fgalinden sonra kolonile\u015fme \u00e7al\u0131\u015fmalar\u0131 Maya uygarl\u0131\u011f\u0131n\u0131n k\u00fclt\u00fcr izlerini b\u00fcy\u00fck \u00f6l\u00e7\u00fcde silmi\u015ftir. Ancak,\u00a0\u00a0\u00a0 Rabinal Achi\u00a0\u00a0\u00a0 \u0130spanyol kolonisi olmadan \u00f6nce Maya \u00fclkesi hakk\u0131nda bilgi veren en \u00f6nemli kaynaklardan biri olmay\u0131 s\u00fcrd\u00fcrmektedir. Koloni d\u00f6neminde s\u0131kl\u0131kla sahnelenen\u00a0\u00a0\u00a0 Rabinal Achi\u2019nin bir bak\u0131ma Maya k\u00fclt\u00fcr\u00fcn\u00fcn el\u00e7ili\u011fi g\u00f6revini \u00fcstlendi\u011fini d\u00fc\u015f\u00fcnmek yanl\u0131\u015f olmaz. Hatta bu k\u00fclt\u00fcr\u00fcn devam etmesini istemeyen \u0130spanyol y\u00f6neticiler oyunu yasaklamay\u0131 denemi\u015flerdir. Oyunun g\u00fcn\u00fcm\u00fczde sadece bir bi\u00e7imde oynan\u0131yor olmas\u0131n\u0131n nedeni de budur (33). Rabinal Achi g\u00fcn\u00fcm\u00fczde her y\u0131l Guatemala\u2019da Ocak ay\u0131n\u0131n onunda sahnelenmektedir.\u00a0 <\/p>\n
Maya \u00fclkesinin kendine \u00f6zg\u00fc k\u00fclt\u00fcr\u00fcn\u00fc yans\u0131tan Rabinal Achi hakk\u0131nda yay\u0131nlanm\u0131\u015f T\u00fcrk\u00e7e ara\u015ft\u0131rmalar\u0131n bulunmay\u0131\u015f\u0131 dikkat \u00e7ekici olmas\u0131na kar\u015f\u0131n, oyunun 1862 y\u0131l\u0131nda yay\u0131nlanan ilk yaz\u0131l\u0131 metninin An\u0131tkabir Atat\u00fcrk \u00d6zel K\u00fct\u00fcphanesi\u2019nde bulunuyor olmas\u0131 \u00e7ok daha dikkat \u00e7ekicidir (34). Atat\u00fcrk\u2019\u00fcn, Rabinal\u2019in \u00fclkesini i\u015fgal etmeye \u00e7al\u0131\u015fan Cawek\u2019i onuruna dokunulmadan cezaland\u0131r\u0131l\u0131\u015f\u0131n\u0131 okudu\u011funu d\u00fc\u015f\u00fcnmek yanl\u0131\u015f olmaz. Bu nedenle Rabinal Achi, tiyatro ara\u015ft\u0131rmac\u0131lar\u0131n\u0131n yan\u0131nda tarih\u00e7ilerin de ilgisi bekleyen bir metindir. Underiner\u2019in makalesinde a\u00e7\u0131k\u00e7a belirtti\u011fi gibi Rabinal Achi\u2019nin \u201csadece tiyatro tarihine katk\u0131lar\u0131n\u0131n de\u011fil ayr\u0131ca Bat\u0131 akademik \u00e7evrelerine ve tiyatro s\u00f6ylemine katk\u0131lar\u0131n\u0131n da daha ayr\u0131nt\u0131l\u0131 incelenmeye de\u011fer\u201d(35) oldu\u011funu belirtmektedir.\u00a0 <\/p>\n
D\u0130PNOTLAR<\/p>\n
* Okutman, \u00c7anakkale Onsekiz Mart \u00dcniversitesi, Yabanc\u0131 Diller B\u00f6l\u00fcm\u00fc<\/p>\n
1 \u00d6zdemir Nutku, D\u00fcnya Tiyatrosu Tarihi, Cilt: I, s. 17-30.
2 Sevda \u015eener, D\u00fcnden Bu G\u00fcne Tiyatro D\u00fc\u015f\u00fcncesi, 1998.
3 Oscar G. Broket, History of Theatre, Allyn and Bacon, Boston, 1987.
4 John Lechte, Fifty Key Contemporary Thinkers: From Structuralism to Postmodernity, s. 228. 5 Amy Villajero, \u201c\u2019Retrospective Hallucination\u2019: Postcolonial Video as Cultural Crituque\u201d, PostcolonialDiscourse & Chancing Cultural Contexts: Theory & Criticism, s. 168.
6 Maureen E. Shea, Culture & Customs of Guatemala, , s. xiii.
7 James Minehan, Nations Without States: A Historical Dictionary of Contempoaray NationalMovements, s. 630.
8 Munro S. Edmunson, Quinch\u00e9 Dramas and Divinatory Calendars, 1997, s. 156-162.
9 Louis Valdez, \u201cNotes on Chicano Theatre\u201d, Twentieth Century Theatre, s. 316.
10 Maureen E. Shea, Culture & Customs of Guatemala, 2000, s. 78.
11 Dennis Tedlock, A Mayan Drama of War and Sacrifice, s. 207.
12 a.g.e. s. 208
13 Tamara Underiner, \u201cNotes from the Ivory Labbyrinht of Solitude\u201d, Theatre Journal, s. 450.
14 Leslie Du S. Read, \u201cBeginnings of Theatre in Africa and the Americas\u201d, The Oxford Illustrated History ofTheatre, s. 93.
15 a.g.e. s. 103
16 Tedlock, \u00f6n. ver., s. 3.
17 a.g.e. s. 3
18 Mark Twain\u2019in betimlemesiyle Cayote \u201cUzun, zay\u0131f ve t\u00fcyleri kurda benzeyen, t\u00fcyl\u00fc kuyru\u011funu s\u00fcreklisallayarak terk edilmi\u015f ve gizemli olman\u0131n \u00fcz\u00fcnt\u00fcl\u00fc ifadesini ta\u015f\u0131yan, sinsi ve \u015feytani g\u00f6zleri olan, uzun vesert y\u00fczl\u00fc, duda\u011f\u0131 hafif\u00e7e yukar\u0131 kalk\u0131k daima di\u015flerini g\u00f6sterir.\u201d Mark Twain, Roughing It, s. 48-49.
19 Tedlock, \u00f6n. ver., s. 10.
20 a.g.e., s. 26.21 a.g.e., s. 27.
22 Brasseur\u2019un metninde (1862) Rabinal\u2019in Cawek\u2019i yakalamas\u0131 \u00f6zellikle belirtilmi\u015ftir. Ancak DennisTedlock\u2019un izledi\u011fi belirtti\u011fi temsillerde ise Cawek\u2019in yakalan\u0131\u015f\u0131nda fiziksel g\u00fc\u00e7 kullan\u0131m\u0131 daha azd\u0131r.
23 Caroll Edward Mace. \u201cNueva y mas reciente informacion sobre los bailes-drama de Rabinal y deldescubrimiento del Rabinal-Achi.\u201d Antropologia e Historia de Guatemala. s. 30.
24 Tedlock. \u00f6n. ver., s. 164
25 a.g.e., . s. 263
26 Barbara Tedlock, Time and Higland Maya, s. 192-193.
27 D. Tedlock. \u00f6n. ver., . s. 157
28 D. Stephen Houston. Hieroglyphs and History at Don Pilas: Dynastic Politics of the Classic Maya, s.
108.
29 D. Tedlock. \u00f6n, ver., s. 157
30 Fray Diego de Duran. Book of the Gods and Rites and the Ancent Calendar, s. 299.
31 \u00d6nder Mamuk, Form Bilgisi, s. 17.
32 Glen Arvel Horspool, The Music of the Quiche Maya of Momostenango in its Cultural Setting, s.\u00a0\u00a0 147,227, 267-270.
33 Tedlock. \u00f6n. ver.\u00a0 s. 174
34 Bu eser An\u0131tkabir Atat\u00fcrk K\u00fct\u00fcphanesi\u2019nde \u201cRabinal-Achi vepu Xahoh-tun u bi xahoh rech vae tinamit Rabinal. Rabinal-Achi ou le drame-ballet du tun pi\u00e8ce sc\u00e9nique de la ville de Rabinal. Transcrite pour la premi\u00e8re fois par Bartolo Ziz. Traduisit….(Charles Etienne) Brasseur de Bourbourg. Paris 1862 Arthus Bertrand. 122+12 s. 8 nota\u201d k\u00fcnye tan\u0131mlamas\u0131 ve 567 s\u0131ra numaras\u0131yla kay\u0131tl\u0131d\u0131r.\u00a0
35 Underiner, \u00f6n. ver., s. 450.<\/p>\n
KAYNAK\u00c7A<\/p>\n
Duran, Fray Diego de. Book of the Gods and Rites and the Ancent Calendar. University of Oklahoma Press,Norman, 1994.
Horspool, Glen Harvey. The Music of the Quiche Maya of Momostenango in its Cultural Setting, Universityof California at Los Angeles, Ann Arhor, 1982.
Houston, D. Stephen. Hieroglyphs and History at Don Pilas: Dynastic Politics of the Classic Maya. Universityof Texas Press, Austin, 1993.
Mace, Caroll Edward. \u201cNueva y mas reciente informacion sobre los bailes-drama de Rabinal y del
descubrimiento del Rabinal-Achi.\u201d Antropologia e Historia de Guatemala, 19(2): 20-37.
Mamuk, \u00d6nder. Form Bilgisi, Kara Kuvvetleri Bas\u0131mevi, Ankara, 1982.
Minehan, James. Nations Without States: A Historical Dictionary of Contempoaray National Movements,Greenwood Publishing Group, New York, 1996, s. 630.
Nutku, \u00d6zdemir. D\u00fcnya Tiyatrosu Tarihi, Cilt: I, Remzi Kitapevi, \u0130stanbul, 1985.
Read, Lesie Du S. \u201cBeginnings of Theatre in Africa and the Americas\u201d, The Oxford Illustrated History of Theatre, New York, 1995.
Shea, Maureen E.. Culture & Customs of Guatemala, Greenwood Publishing Group, New York, 2000.
\u015eener, Sevda. D\u00fcnden Bu G\u00fcne Tiyatro D\u00fc\u015f\u00fcncesi, Dost Kitapevi Yay\u0131nlar\u0131, 1998.
Tedlock, Barbara. Time and Higland Maya, University of New Mexico Press, Albuquerque, 1992.
Tedlock, Dennis. A Mayan Drama of War and Sacrifice, Oxford University Press, New York, 2003.
Tedlock, Dennis. The Mayan Book of the Down of Life, Simon & Schuster, New York, 1985.
Twain, Mark. Roughing It, Digital Scanning, 1886.
Underiner, Tamara. \u201cNotes from the Ivory Labbyrinht of Solitude\u201d, Theatre Journal, 56(63), 449-452.
Valdez, Lois. \u201cNotes on Chicano Theatre\u201d, Twentieth Century Theatre (ed. Richard Drain), Routedge, New York, 1995.
Villajero, Amy. \u201c\u2019Retrospective Hallucination\u2019: Postcolonial Video as Cultural Crituque\u201d, Postcolonial
Discourse & Chancing Cultural Contexts: Theaory & Criticism, (Der. G. Rajan), Greenwood Publishing
Group, New York, 1995. <\/p>\n
kaynak: Ank.\u00dcni. Tiyatro Ara\u015ft\u0131rmalar\u0131 Dergisi- say\u0131:18\u00a0 sayfa:108<\/p>\n","protected":false},"excerpt":{"rendered":"
Avrupa tiyatrosunun kayna\u011f\u0131 hakk\u0131nda g\u00fcn\u00fcm\u00fczde kabul edilen teoriler Antik Yunan uygarl\u0131\u011f\u0131na dayand\u0131r\u0131lmaktad\u0131r. Prof. Dr. \u00d6zdemir Nutku\u00a0\u00a0 D\u00fcnya Tiyatrosu Tarihi adl\u0131 eserinde tiyatronun kayna\u011f\u0131 hakk\u0131nda \u00f6nemli bilgiler sunuyor olmas\u0131na kar\u015f\u0131n, Maya \u00fclkesinin Avrupa belle\u011finden uzakta oldu\u011fu d\u00f6nemlere ait tiyatro \u00f6rneklerine de\u011finmemi\u015ftir (1). Benzer bir yakla\u015f\u0131mla,Prof. Dr. Sevda \u015eener D\u00fcnden Bug\u00fcne Tiyatro D\u00fc\u015f\u00fcncesi (2) adl\u0131 eserinde Amerika […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-4798","post","type-post","status-publish","format-standard","category-tiyatro-kritikleri"],"yoast_head":"\n