Fifth Issue

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In the 11 th century, due to decrees prohibiting ritual and drama, Shadow Theater stories were performed in the countryside and not within cities or towns, and it was by the early Ming Dynasty (1368 – 1644) that the performances became again part of the city culture. In the area of Near and Middle East, the earliest records of the Shadow Theater come from Egypt, where the earliest extant shadow playscripts are three plays of 13 th – 14 th century, in poetry and versified prose, while Shadow Theater might also have existed in Persia during the 12 th century AD. Similarities in the form of the performance (one master shadow puppeteer, who directs and animates the performance, beginning of the performance with dances and fighting among animals, introduction of each new character by a signature special tune played by the orchestra) and in the style of the figures (ornamentation) serve as evidence for the influence of Javanese Shadow Theater on the Egyptian Shadow Theater and on the Turkish Karagoz Shadows. 11
The Turkish Shadow Theater To the eye of the uninitiated this curtain produces only images But to him who knows the signs, symbols of the truth. No one knows what is behind this curtain, but this is the truth: It relates the reality of the world through a language of symbols. When the candles go out, at once the pictured persons cease to exist. Prologue (“Curtain poem”) of Turkish Shadow Theater performance The evolution of the Turkish Karagoz shadows keeps pace with the expansion of the Ottoman Empire, and the Turkish Shadows tradition was found in Greece, Algeria, Tunisia, Morocco, and in Syria. A tale often quoted as the beginning of the Turkish Shadows says that in 1517, when Sultan Selim I conquered Egypt, he watched a shadow play enacting the hanging of the last Sultan of the Egyptian Mamelukes. Delighted by the show, he took the performer with him to Istanbul, the capital of the Ottoman Empire. Though, evidence from literary sources that the Shadow Theater is used as a literary metaphor as early as in the 12 th century AD, suggest that the tradition most likely already existed in the Ottoman Empire, before its importation from Egypt, but it was 12
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Page 4 and 5: Name : K a r a g i o z i s - Nation
Page 6 and 7: offered a platform of heroic and hi
Page 8 and 9: Between Shadow and Light Between sh
Page 10 and 11: elated to the worship of flat figur
Page 14 and 15: from the beginning of the 16 th cen
Page 16 and 17: of Islamic society, clearly tended
Page 18 and 19: From Karagoz to Karagiozis - From t
Page 20 and 21: Past and present, individual and gr
Page 22 and 23: dramatic tradition with a cast of c
Page 24 and 25: The play begins with the assertion
Page 26 and 27: The characters of the Greek Shadow
Page 28 and 29: His tricks and jokes concerning his
Page 30 and 31: “Elli needs killing with a double
Page 32 and 33: The Karagiozis players “Do you kn
Page 34 and 35: Having the intention to highlight K
Page 36 and 37: to the audience of traditional thea
Page 38 and 39: After World War II, a major change
Page 40 and 41: The Shadow Theatre in China The Sha
Page 42 and 43: unique position in the conception a
Page 44 and 45: Hangzhou and Shanxi province, where
Page 46 and 47: References Loring M. Danforth, “T

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