13–15 May 2026
Istanbul University Faculty of Letters
Europe/Istanbul timezone

Examining Late Ottoman Empire Labor Assemblies Through Theatre Historiography

D2-S4-A9
14 May 2026, 15:15
20m
A9 (Istanbul University Faculty of Letters)

A9

Istanbul University Faculty of Letters

Oral Presentation Session 4.4 (Day 2)

Speaker

Fatine Bahar Karlıdağ (Yeditepe University)

Description

Before the declaration of the Second Constitutional Regime (1908), marked with severe authoritarian prohibitions, Ottoman workers resorted to seeking their rights in rather compelling ways that attract a theatre historian’s gaze. The pre-constitutional years (1901-1902) saw the exiled labor leaders of the Ottoman Workers’ Association succeed in arranging a Labour Congress in an Istanbul cemetery (Zengin 448). The Second Constitutional declaration brought a visible but short-lived optimism and rigour to the workers’ cause as they used theatre to demonstrate their political urgencies. The Anatolian Railways Company resorted to assembling in a winter theatre house for chartering their union in Moda, a non-Muslim district (Toprak 18). In the following decade, one of the largest workers’ association meetings was held in a theatre house (Zengin 458). Although the cemeteries were recreational spaces for 19th-century Ottoman pastime (Çilli), the secrecy of the cemetery gathering makes accessing the event dynamics difficult. The theatre assemblies of workers’ unions were naturally non-performative. Still, these events call for theoretical inquiries regarding the practical freedoms they suggest: Theatre houses naturally lend themselves to the discussions of liminality, whereas the cemetery’s dubiously interstitial promise can be discussed in contradistinction to the carnivalesque spirit of a political emancipation (of chartering a forbidden union), while starkly displaying the pathos and the gothic background of Ottoman workers oppressed by their own state and imperialist companies. My paper, assuming the gaze of a theatre historian looking through a temporal fourth wall, aims to theorize these non-theatrical labor activisms as social dramaturgies responding to a crisis, and to also probe this Artaudian gaze itself that regards such generative historical acts and spaces as theatre’s double.

Keywords Ottoman Labor history, theatre historiography, performance, liminality, interstice
E-mail bahar.karlidag@yeditepe.edu.tr

Author

Fatine Bahar Karlıdağ (Yeditepe University)

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