Abstract

Queer ghosts are haunting the independent stages of Istanbul. Trans sex workers, fallen angels, and pop icons who lost their lives are coming back to life, and they want more than a mourning. They want to educate the living, seek redress, complain, and imagine new social knowledges for the queers of the present time. This article offers a dramaturgical taxonomy of these queer ghosts by tracing what they are trying to enact through their refusal to leave the theatrical space. It takes four plays as case studies: Ufuk Tan Altunkaya’s 80ʹlerde Lubunya Olmak (Being a Queer in the 1980s, 2013), Ebru Nihan Celkan’s Uzaydan Gelen Prens (The Prince from Space, 2018), Özen Yula’s Yala ama Yutma (Lick but Don’t Swallow, 2010), and Ahmet Sami Özbudak’s İz (The Stain, 2013). It argues that queerness on Istanbul’s independent stages reveals historical fatalities but also provides a glimpse of alternative ways of survival for the precarious.

摘要

酷儿幽灵出没于伊斯坦布尔的独立舞台。跨性别性工作者、堕落天使和失去生命的流行偶像正在复活，他们想要的不仅仅是哀悼。他们想要教育生者、寻求补救、抱怨并为当今的酷儿想象新的社会知识。本文通过追踪他们拒绝离开戏剧空间而试图表演的内容，对这些酷儿鬼魂进行了戏剧分类。它以四部戏剧作为案例研究：Ufuk Tan Altunkaya的80ʹlerde Lubunya Olmak（《Being a Queer in the 1980s》，2013年）、Ebru Nihan Celkan的Uzaydan Gelen Prens（ 《来自太空的王子》，2018年）、Özen Yula的《Yala ama Yutma》（《Yala ama Yutma》）（《来自太空的王子》 ）。《舔但不要吞咽》，2010），以及艾哈迈德·萨米·奥兹布达克的《Á z》（《污点》，2013）。它认为伊斯坦布尔独立舞台上的酷儿揭示了历史的死亡，但也为不稳定的人提供了替代的生存方式。