Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series Innocent
Theater productions are often adapted for cinema or television. In 2017, Berkun Oya converted his play Bayrak to an Internet-based television series titled Masum (Innocent). The Internet-based streaming of shows is gradually replacing television broadcasting across the world. Masum is considered the...
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| Language: | English |
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Istanbul University Press
2021-06-01
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| Series: | Konservatoryum |
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| Online Access: | https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/240D62E8FC924D4981DE42DD5CFCCF04 |
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| author | Gül Sevgi Karaca |
| author_facet | Gül Sevgi Karaca |
| author_sort | Gül Sevgi Karaca |
| collection | DOAJ |
| description | Theater productions are often adapted for cinema or television. In 2017, Berkun Oya converted his play Bayrak to an Internet-based television series titled Masum (Innocent). The Internet-based streaming of shows is gradually replacing television broadcasting across the world. Masum is considered the first professionally produced series to be streamed over the Internet in Turkey. The production quality of Masum allows the assertion that Turkey’s first foray into this domain showcases a promising premise with success. This study evaluates adaptation-related features of Bayrak/Masum and scrutinizes the changes in the dramatic tools utilized in the author’s dual fictionalization for two distinct communication channels. The dramaturgical analysis method is applied to the study, which investigates the similarities and differences between the two works and elucidates the distinct approaches used for the two different dramatic art forms. This study also illuminates the rationale for adding characters to the Internet-broadcast adaptation of the play, noting the contributions made to the dramatic structure by this emergent theatricalspace. Differences in target audiences, discourse, the possibilities of time and space, and dramatic form occur when reciprocal adaptations are attempted. Identifying these disparities in the axis of Bayrak and Masum offers opportunities of ascertaining conversion techniques. |
| format | Article |
| id | doaj-art-dfd6e45817254e08a719d0e66dc1eedd |
| institution | OA Journals |
| issn | 2618-5695 |
| language | English |
| publishDate | 2021-06-01 |
| publisher | Istanbul University Press |
| record_format | Article |
| series | Konservatoryum |
| spelling | doaj-art-dfd6e45817254e08a719d0e66dc1eedd2025-08-20T02:15:59ZengIstanbul University PressKonservatoryum2618-56952021-06-0181416110.26650/CONS2021-897216123456Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series InnocentGül Sevgi Karaca0https://orcid.org/0000-0002-3057-0827Kocaeli Üniversitesi, Kocaeli, TürkiyeTheater productions are often adapted for cinema or television. In 2017, Berkun Oya converted his play Bayrak to an Internet-based television series titled Masum (Innocent). The Internet-based streaming of shows is gradually replacing television broadcasting across the world. Masum is considered the first professionally produced series to be streamed over the Internet in Turkey. The production quality of Masum allows the assertion that Turkey’s first foray into this domain showcases a promising premise with success. This study evaluates adaptation-related features of Bayrak/Masum and scrutinizes the changes in the dramatic tools utilized in the author’s dual fictionalization for two distinct communication channels. The dramaturgical analysis method is applied to the study, which investigates the similarities and differences between the two works and elucidates the distinct approaches used for the two different dramatic art forms. This study also illuminates the rationale for adding characters to the Internet-broadcast adaptation of the play, noting the contributions made to the dramatic structure by this emergent theatricalspace. Differences in target audiences, discourse, the possibilities of time and space, and dramatic form occur when reciprocal adaptations are attempted. Identifying these disparities in the axis of Bayrak and Masum offers opportunities of ascertaining conversion techniques.https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/240D62E8FC924D4981DE42DD5CFCCF04adaptationtheaterinternet series |
| spellingShingle | Gül Sevgi Karaca Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series Innocent Konservatoryum adaptation theater internet series |
| title | Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series Innocent |
| title_full | Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series Innocent |
| title_fullStr | Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series Innocent |
| title_full_unstemmed | Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series Innocent |
| title_short | Analysis of Berkun Oya’s Play Bayrak and its Adaptation for the Television Series Innocent |
| title_sort | analysis of berkun oya s play bayrak and its adaptation for the television series innocent |
| topic | adaptation theater internet series |
| url | https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/240D62E8FC924D4981DE42DD5CFCCF04 |
| work_keys_str_mv | AT gulsevgikaraca analysisofberkunoyasplaybayrakanditsadaptationforthetelevisionseriesinnocent |