In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şark Dişçisi (The Oriental Dentist) (2011) by the Istanbul Metropolitan Municipality City Theatres (İBBŞT). While promoting confrontation with the past, Şark Dişçisi eliminates the crucial political insights of its source text and their ramifications for contemporary demands for historical justice regarding the 1915 Armenian Genocide. The intersection of revisionist theatre historiography and broader political dynamics in the adaptation process reveals the ambivalences of post-Genocide memory work in Turkey.

中文翻译：

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舞台戏剧史学：当代土耳其公共剧院中奥斯曼亚美尼亚戏剧的来世

在过去的二十年里，记忆在土耳其的社会、文化和政治舞台上获得了更广泛的关注。为了配合这一运动，独立和受补贴的剧院通过不同的政治和美学议程制作了与亚美尼亚历史相关的戏剧。在这些作品中，公共和国家戏剧作品在戏剧学术界中大多是不可见的，因为它们的模糊地位与政治戏剧的框架并不直接一致。本文探讨了奥斯曼亚美尼亚剧作家哈戈普·巴罗尼安 (Hagop Baronian) 的改编作品阿达纳普伊·阿拉维良【1868】萨克·迪西西斯（东方牙医）（2011 年）由伊斯坦布尔大都会城市剧院 (IBBŞT) 演出。在提倡与过去对抗的同时，萨克·迪西西斯消除了其源文本中关键的政治见解及其对当代要求 1915 年亚美尼亚种族灭绝历史正义的影响。改编过程中修正主义戏剧史学与更广泛的政治动态的交叉揭示了土耳其后种族灭绝记忆工作的矛盾心理。