![]() This could be one of many themes - a boat trip, a wedding, an encounter with witches, a business venture that goes wrong, an old folk tale of Turkish, Persian or Arabic origin, etc. The main plot then follows with a story involving other characters. Eventually things settle down into a dialogue between Karagoz and Hacivat, demonstrating Karagoz’s practical way of viewing the world and Hacivat’s intellectual approach.ģ. After this, every time Hacivat appears Karagoz bashes him.Ģ. As their conversation develops, they get into a fight which ends with Karagoz lying on the pavement complaining about Hacivat. He greets Hacivat and eventually comes down onto the street. ![]() Karagoz appears at this time, his head hanging out of a window in his house. At the end of the poem he usually speaks of a longing for a friend who would be his intellectual equal and share his thoughts. A prologue consisting of a poem performed by Hacivat. Plots often concerned local problems and sometimes contained veiled criticisms of the government.ġ. One main source of humour is the imitation of their accents. There are supporting characters, some from other cultures and other parts of the empire. A lamp behind the screen caused them to show up in beautiful colours like stained glass. Holes were punched in the puppets and sticks inserted so that the puppeteer could hold them up against a screen made of fine white cotton stretched over a frame and move them around. Arms, legs and sometimes heads were made separately and jointed with ties made from gut. The different characters were cut out from patterns and painted with vegetable dyes. The original puppets were made from animal skin, usually camel skin that had been rubbed very thin. ![]() By the 17th century shadow theatre was very well developed in the empire and had become very Ottoman in emphasis. The story is that Selim II after his conquest of Egypt was treated to puppet theatre entertainment and was so delighted with it that he brought a party of puppeteers back to Istanbul so his son Suleyman (later Suleyman the Magnificent) could see it. The Egyptians had a form of shadow theatre based on the Javanese tradition picked up from trading missions. Turkish shadow puppetry came into the Ottoman Empire through Egypt in the 16th century. ![]()
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