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Ali \u0130hsan Aksamaz<\/strong><\/p>\n Geleneksel ve g\u00fcn\u00fcm\u00fcz T\u00fcrk Tiyatrosu\u2019nda, Laz tiplemesi ve Lazlara bi\u00e7ilen rol:<\/p>\n Lazlar, s\u00f6zde sanat\u00e7\u0131lar\u0131n malzemesi yap\u0131lmamal\u0131d\u0131r. Geleneksel T\u00fcrk Tiyatrosu\u2019ndaki ve g\u00fcn\u00fcm\u00fcz s\u00f6zde tiyatro ve TV parodi ve ske\u00e7lerindeki Laz tiplemesiyle, Laz\u2019\u0131n hi\u00e7bir bak\u0131mdan g\u00f6sterilmeye \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 gibi ortak bir benzerli\u011fi yoktur.<\/p>\n Bizi kim g\u00fcld\u00fcr\u00fcr? Kime g\u00fcleriz? Neden g\u00fcleriz? Bu ve benzer sorular\u0131n cevab\u0131n\u0131, iki bin y\u0131l \u00f6nce, Platon vermi\u015f. Belki de bizim b\u00f6yle soraca\u011f\u0131m\u0131z\u0131 d\u00fc\u015f\u00fcnm\u00fc\u015f: \u201cKendini bilmeyen insan e\u011fer zay\u0131f durumda bir ki\u015fiyse g\u00fcl\u00fcn\u00e7 g\u00f6r\u00fcn\u00fcr.\u201d Platon\u2019un bu c\u00fcmlesinin \u0131\u015f\u0131\u011f\u0131 alt\u0131nda Geleneksel T\u00fcrk Tiyatrosu; Kukla, Karag\u00f6z, Meddah, Ortaoyunu ve g\u00fcn\u00fcm\u00fcz T\u00fcrk Tiyatrosu\u2019nda; s\u00f6zde parodi ve ske\u00e7lerde Lazlara bi\u00e7ilen rol \u00fczerinde durmak istiyorum.<\/p>\n Geleneksel T\u00fcrk Tiyatrosu tiplemeye dayan\u0131r. Geleneksel T\u00fcrk Tiyatrosu\u2019nun Laz tiplemesi \u00f6zelli\u011finin, g\u00fcn\u00fcm\u00fcz s\u00f6zde TV parodi ve ske\u00e7lerinde, tiyatro yapt\u0131\u011f\u0131n\u0131 sanan ve bilimsellikten uzak baz\u0131 sanat\u00e7\u0131lar taraf\u0131ndan Laz karakterine d\u00f6n\u00fc\u015ft\u00fcr\u00fclmeye \u00e7al\u0131\u015f\u0131lmas\u0131, bu konu \u00fczerinde durman\u0131n \u00f6nemini ortaya \u00e7\u0131karmaktad\u0131r.<\/p>\n Dr. Sokullu, yapt\u0131\u011f\u0131 ara\u015ft\u0131rmada \u015fu g\u00f6r\u00fc\u015flere yer vermektedir; \u201cKarag\u00f6z oyunlar\u0131nda \u00e7ok s\u0131k yap\u0131lan alay insan\u0131n hayvansal yan\u0131n ele\u015ftirmeye, d\u00fcrt\u00fcsel davran\u0131\u015flar\u0131 g\u00f6stermeye y\u00f6nelmi\u015ftir. Fakat bu g\u00fcl\u00fcn\u00e7lemenin a\u015fa\u011f\u0131lama, k\u00fc\u00e7\u00fcltme gibi bir ama\u00e7la yap\u0131lmad\u0131\u011f\u0131, seyirciye \u2018kar\u015f\u0131\u2019 bir tav\u0131r tak\u0131nd\u0131racak bir g\u00fcl\u00fcn\u00e7leme y\u00f6nteminin kullan\u0131lmad\u0131\u011f\u0131 fark edilir.\u201d (1)<\/p>\n Oysa ger\u00e7ek durum \u00e7ok daha farkl\u0131 g\u00f6r\u00fcnmektedir. Kukla, Karag\u00f6z, Meddah ve Ortaoyunu\u2019nda insanlar meslekleriyle, olumsuz ve komik ki\u015fisel \u00f6zellikleriyle ve toplum kar\u015f\u0131t\u0131 di\u011fer \u00f6zellikleriyle karakterize edilmezler. Bunun yerine \u015five, leh\u00e7e, deyi\u015f gibi etnik \u00f6zellikleri abart\u0131larak tiplenirler. G\u00f6r\u00fcn\u00fc\u015fte bu \u00f6zelliklerle g\u00fcl\u00fcn\u00e7leme yap\u0131l\u0131yor gibi geliyorsa da, oyunlardaki Laz, kendisini de\u011fil t\u00fcm Lazlar\u0131 temsil etmektedir. Yani Laz, Geleneksel T\u00fcrk Tiyatrosu\u2019nda s\u00f6zde her y\u00f6n\u00fcyle geldi\u011fi etnik k\u00f6keniyle yans\u0131t\u0131l\u0131r. Geleneksel T\u00fcrk Tiyatrosu\u2019nu izleyen ki\u015fi, hayat\u0131nda hi\u00e7 Laz g\u00f6rmemi\u015fse, g\u00f6rd\u00fc\u011f\u00fc Laz tiplemesiyle, oyundan t\u00fcm Lazlar\u0131 t\u00fcm \u00f6zellikleriyle tan\u0131yarak ayr\u0131ld\u0131\u011f\u0131 izlenimine kap\u0131labilir. Oyunun g\u00f6r\u00fcnmeyen, esas amac\u0131 da b\u00f6ylece ger\u00e7ekle\u015fmi\u015f olur.<\/p>\n And\u2019\u0131n da tipleme konusundaki g\u00f6r\u00fc\u015fleri \u015f\u00f6yledir: \u201cKukla, Karag\u00f6z ve Ortaoyunu ki\u015filerinin en b\u00fcy\u00fck \u00f6zelli\u011fi tip olmalar\u0131d\u0131r. Bunlar dura\u011fan ve de\u011fi\u015fmez genellemelerdir; kendi istemlerini kullanma g\u00fc\u00e7leri yoktur, bu y\u00fczden s\u00fcrekli olarak kendi kendilerini yinelerler.\u201d (2)<\/p>\n Laz tiplemesi, \u201ca\u011fz\u0131 kalabal\u0131k, kar\u015f\u0131s\u0131ndakine konu\u015fma f\u0131rsat\u0131 vermeyen\u201d (3) bir tiplemedir. Laz, bir \u00f6zelli\u011finden hi\u00e7 vazge\u00e7mez, vazge\u00e7irilmez ve hep insanlar\u0131 kendisine g\u00fcld\u00fcr\u00fcr. Ona g\u00fcl\u00fcnmenin ger\u00e7ek nedeni sadece \u201ca\u011fz\u0131 kalabal\u0131k\u201d olu\u015fu mudur? Hay\u0131r. Ancak Kukla, Karag\u00f6z, Meddah ve Ortaoyunu\u2019nda rol\u00fc bellidir. \u201cKendini bilmez ve ayn\u0131 zamanda da zay\u0131f durumdad\u0131r.\u201d (4) Bunun sonucunda da alay konusu olup, a\u015fa\u011f\u0131lanmas\u0131 ka\u00e7\u0131n\u0131lmazd\u0131r. Bu g\u00f6r\u00fc\u015f\u00fcm\u00fcz \u0130slam Ansiklopedisi de payla\u015fmaktad\u0131r: \u201cT\u00fcrk atas\u00f6zleri ve Karag\u00f6z oyunlar\u0131 \u00e7ok zaman Lazlar\u0131 mevzuu olarak ele al\u0131rlar.\u201d (5)<\/p>\n Dr. Sokullu, \u201cg\u00fcl\u00fcn\u00e7lemenin a\u015fa\u011f\u0131lama, k\u00fc\u00e7\u00fcltme gibi bir ama\u00e7la yap\u0131lmad\u0131\u011f\u0131n\u0131\u201d (6) belirtme ihtiyac\u0131 hissediyorsa da, \u201cY\u00f6resel halk temsilcilerinin be\u015feri zaaf\u0131ndan \u00e7ok tipik soy \u00f6zelliklerinin karikat\u00fcrle\u015ftirildi\u011fini\u201d (7) belirtmektedir. Dr. Sokullu, \u201cTipik soy \u00f6zellikleri\u201d derlen \u201c\u015five, deyi\u015f\u201d \u00f6zelliklerini kastediyor olmal\u0131.<\/p>\n Kukla, Karag\u00f6z, Meddah ve Ortaoyunu\u2019nda Laz\u2019\u0131n kendisine g\u00fcl\u00fcnmesini sa\u011flayan nedir? \u201cAcelecilik ve gevezelik gibi belirli kal\u0131pla\u015fm\u0131\u015f davran\u0131\u015flar\u201d (8) m\u0131? \u201cK\u0131z\u2019a kiz, amca\u2019ya emice, tamam\u2019a temem\u201d diyerek \u201cGenellikle a\u2019dan sonra u; \u0131\u2019dan sonra u getirmesi\u201d (9) mi? Yoksa sevdi\u011fi kad\u0131na tatl\u0131 s\u00f6zler s\u00f6ylemesi gerekti\u011finde, \u201cBaklava, sar\u0131\u011fi burma, kaymakl\u0131 ekmek kadaifi\u2026\u201d (10) demesi mi? Laz\u2019\u0131n kendisine g\u00fcld\u00fcrd\u00fc\u011f\u00fc ne \u015fivesidir ne de acele konu\u015fmas\u0131. Laz\u2019a g\u00fclmelerinin nedeni tiplemede kendisine y\u00fcklenen akl\u0131 k\u0131tl\u0131kt\u0131r. Ona y\u00fcklenen, ondan istenen akl\u0131 k\u0131t bir tutum sergilemesidir. \u201cZay\u0131f durumdaki kendini bilmeyen\u201d (11) tiplendirmesiyle komik duruma d\u00fc\u015f\u00fcr\u00fclmektedir. \u00c7\u00fcnk\u00fc Laz\u2019\u0131n, \u201cKendi istemlerini kullanma g\u00fcc\u00fc yoktur.\u201d (12)<\/p>\n Laz\u2019\u0131n, Karag\u00f6z oyununda, \u201cZay\u0131f durumdaki kendini bilmeyen\u201d tiplendirmesine k\u0131sa bir \u00f6rnek: \u201cNerel\u00fcs\u00fcn, onu sorayrum. Ofli misun, \u00dcnyeli misun, Fatsali misun? Ofli isen \u00e7\u00f6yl\u00fc misun, \u015fehirli misun, \u00e7\u00f6yl\u00fc isen kimlerdensun, deyilsen \u015fehrun han\u00e7i mahallesindensun, diba tahu\u2026\u201d (13) Laz\u2019\u0131n nas\u0131l g\u00fcl\u00fcn\u00e7 duruma d\u00fc\u015f\u00fcr\u00fcld\u00fc\u011f\u00fcn\u00fc g\u00f6steren bir\u00e7ok \u00f6rnek de Ortaoyununda vard\u0131r. (Laz\u2019\u0131n de\u011fi\u015fmedi\u011fini g\u00f6steren g\u00fcn\u00fcm\u00fcz T\u00fcrk Tiyatrosu\u2019ndan da bir \u00f6rnek i\u00e7in bkz. S. \u015eendil, Yedi Kocal\u0131 H\u00fcrm\u00fcz, s.30) Laz tiplemesinin bolca kullan\u0131ld\u0131\u011f\u0131 s\u00f6zde TV ske\u00e7 ve parodileri de bu konudaki yanl\u0131\u015fl\u0131klar\u0131n devam etti\u011fini g\u00f6stermektedir. \u201cTemel\u2019e demi\u015fler ki, hangi tarihte do\u011fdun? O da, \u00e7ok k\u00fc\u00e7\u00fckt\u00fcm, hat\u0131rlam\u0131yorum, demi\u015f.\u201d (14)<\/p>\n Geleneksel T\u00fcrk Tiyatrosu\u2019nda Laz\u2019a bi\u00e7ilen rol bellidir: \u201cKendi istemlerini kullanma g\u00fcc\u00fc yoktur\u201d (15) Geleneksel T\u00fcrk Tiyatrosu; Kukla, Karag\u00f6z, Meddah ve Ortaoyunu\u2019nda kullan\u0131lan tipleme \u00f6zelli\u011fi Laz\u2019\u0131 vermeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z olumsuz durumlara d\u00fc\u015f\u00fcrm\u00fc\u015ft\u00fcr. Bu durum, Geleneksel T\u00fcrk Tiyatrosu\u2019nun ge\u00e7mi\u015fte ula\u015ft\u0131\u011f\u0131 noktay\u0131 g\u00f6stermektedir. Geleneksel T\u00fcrk Tiyatrosu\u2019nun ge\u00e7mi\u015fi konusunda sadece \u00f6rnekler verebiliriz, kar\u015f\u0131la\u015ft\u0131rmalar yapabiliriz. \u00c7\u00fcnk\u00fc o tarihe mal olmu\u015ftur. As\u0131l \u00fczerinde durulmas\u0131 gereken, bug\u00fcn \u00c7a\u011fda\u015f Tiyatro yapt\u0131\u011f\u0131n\u0131 sanan, ticari kayg\u0131l\u0131 \u00e7al\u0131\u015fmalar\u0131n h\u00e2l\u00e2 Laz tiplemesini kullanmalar\u0131d\u0131r. E\u011fer Geleneksel T\u00fcrk Tiyatrosu\u2019nun \u00e7a\u011fda\u015f \u00f6rneklerini ortaya koyma gibi ama\u00e7lar\u0131 olanlar varsa bunu \u201c\u0130nsana ili\u015fkin g\u00fcl\u00fcn\u00e7lemede insan zaaf\u0131yla ilintili karakter ve mizaca y\u00f6nelik alay\u201d (16) olarak yapabilirler. Bu konuda \u00e7ok ba\u015far\u0131l\u0131 \u00f6rnekler mevcuttur.<\/p>\n \u0130\u015fte \u00c7a\u011fda\u015f Ortaoyunu:<\/p>\n \u201c\u00d6mer Hayyam\u2019\u0131n Beklenmedik Derdesti.<\/p>\n Savak\u2019tan Behruz Tebar\u00fcz, kara \u00e7ar\u015faf i\u00e7inde bir k\u00f6\u015feye sinmi\u015fken, \u00d6mer Hayyam sa\u011fdan girer.<\/p>\n Behruz: Hi\u015f\u015f\u015ft<\/p>\n Hayyam: Bana m\u0131 hi\u015f\u015f\u015ft edirsen?<\/p>\n Behruz: Yok mobana. Sen kimsen kim, geceyar\u0131s\u0131 d\u00fc\u015fe\u015fi d\u00fcbe\u015f ge\u00e7e, bil\u00e2perva Pahlavi Meydan\u0131\u2019nda dola\u015f\u0131rsen? Arz-\u00fcl h\u00fcviyet \u0131 Beyan-\u00fcl vaziyet \u0131 ismin nedir?<\/p>\n Hayyam: Sizden mana kar\u015f\u0131 tebar\u00fcz eden bu samimiyet nedir?<\/p>\n Behruz: Evvel sual men sormu\u015fem, ismin nedir?<\/p>\n Hayyam: \u00d6mer<\/p>\n Behruz: \u0130sm-\u00fcl s\u00fclale?<\/p>\n Hayyam: Hayyam<\/p>\n Behruz: Edresen nedir?<\/p>\n Hayyam: Zat\u0131alinizi ne ilgilendirir?<\/p>\n Behruz: \u0130lgilendirir kim sormu\u015fem ve minel cevap \u0131<\/p>\n Hayyam: Mallahallah, me kadar merakl\u0131s\u0131n\u0131z, menim edresem masit: Mahalle-\u00fcl Pahlavi, Cadde-\u00fcl \u015eah R\u0131za Sokak, Musadd\u0131k \u00e7\u0131kmaz\u0131, \u015eehin\u015fah apart\u0131man\u0131, numara pen\u00e7, daire yek\u2026 Hatta negatif yek, \u00e7\u00fcn menem ev yek kat yerin alt\u0131nda.<\/p>\n Behruz: Yerin alt\u0131nda ha? Yeralt\u0131 faaliyeti ha?\u201d (17)<\/p>\n Gerek T\u00fcrkiye gerekse G\u00fcrcistan Cumhuriyeti i\u00e7inde kalan b\u00f6lgede ya\u015fayan Lazlar, Geleneksel T\u00fcrk Tiyatrosu\u2019nda ve g\u00fcn\u00fcm\u00fcz s\u00f6zde tiyatro ve TV ske\u00e7 ve parodilerindeki tiplemelerden \u00e7ok farkl\u0131 \u00f6zelliklere sahiptirler. N\u00fcfus co\u011frafyas\u0131, uzmanlar\u0131n\u0131n yapt\u0131klar\u0131 bilimsel ara\u015ft\u0131rmalara g\u00f6re, Lazlar\u0131n yo\u011fun olarak ya\u015fad\u0131\u011f\u0131 Do\u011fu Karadeniz B\u00f6lgesi, insanlar\u0131n ya\u015famalar\u0131na, \u00fcremelerine ve geli\u015fmelerine son derece uygundur. (18) Lazlar, co\u011frafyalar\u0131n\u0131n kendilerine bah\u015fetti\u011fi \u00f6zellikler sonucu \u00e7al\u0131\u015fkan, d\u00fcr\u00fcst, zeki, \u00e7evik, tuttu\u011funu koparan g\u00fczel insanlard\u0131r. Lazlar, ya\u015fad\u0131klar\u0131 Do\u011fu Karadeniz B\u00f6lgesinde tarihin ula\u015fabildi\u011fi en eski tarih kadar eskidirler; bu co\u011frafyan\u0131n otohtonlar\u0131d\u0131rlar.<\/p>\n M\u00d6 3. y\u00fczy\u0131lda Apollonius\u2019un anlatt\u0131\u011f\u0131 \u201cAlt\u0131n Post Efsanesi\u201d Lazlar\u0131n \u00fclkesi Kolkhis\u2019te (19) ge\u00e7mekte ve M\u00d6 6. y\u00fczy\u0131ldan itibaren koloniler kurmaya ba\u015flayan Greklerin Laz \u00fclkesinin yeralt\u0131 ve yer\u00fcst\u00fc kaynaklar\u0131n\u0131 nas\u0131l talan etmeye \u00e7al\u0131\u015ft\u0131klar\u0131n\u0131 g\u00f6zler \u00f6n\u00fcne sermektedir. (20)\u00a0 Lazlar\u0131n ge\u00e7mi\u015fte kurduklar\u0131 Laz Devleti \u201cLazika\u201d (21), bulundu\u011fu co\u011frafyan\u0131n ticari ve askeri \u00f6nemi sonucu zaman\u0131n b\u00fcy\u00fck devletleri olan Bizans \u0130mparatorlu\u011fu ve Pers \u0130mparatorlu\u011fu\u2019na kar\u015f\u0131 ba\u011f\u0131ms\u0131zl\u0131\u011f\u0131 i\u00e7in say\u0131s\u0131z m\u00fccadeleler vermi\u015ftir. \u201cDevlet, bireyleri siyasal bilince sahip toplumlar\u0131n en y\u00fcksek m\u00fcessesesi\u201d (22) oldu\u011funa g\u00f6re; ge\u00e7mi\u015fte devlet olabilen ve b\u00f6yle tarihi miras\u0131n ya\u015fayan temsilcileri olan Lazlar (23), s\u00f6zde sanat\u00e7\u0131lar\u0131n malzemesi yap\u0131lmamal\u0131d\u0131r. Geleneksel T\u00fcrk Tiyatrosu\u2019ndaki ve g\u00fcn\u00fcm\u00fcz s\u00f6zde tiyatro ve TV parodi ve ske\u00e7lerindeki Laz tiplemesiyle, Laz\u2019\u0131n hi\u00e7bir bak\u0131mdan g\u00f6sterilmeye \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131 gibi ortak bir benzerli\u011fi yoktur.<\/p>\n Sanat\u00e7\u0131, e\u011fer sanat\u00e7\u0131 oldu\u011fu iddias\u0131nda ise, tarihi sorgulamal\u0131, yanl\u0131\u015fta \u0131srar etmemelidir. Ya\u015fad\u0131\u011f\u0131m\u0131z co\u011frafyadaki insanlar\u0131 kayna\u015ft\u0131r\u0131c\u0131 roller \u00fcstlenilmelidir. Konu bulma g\u00fc\u00e7l\u00fc\u011f\u00fc \u00e7ekmenin m\u00fcmk\u00fcn olmad\u0131\u011f\u0131 bir \u00fclkede ya\u015fad\u0131\u011f\u0131m\u0131z\u0131 biliyoruz. Cesaret, ak\u0131llara de\u011fi\u015fik mizah unsurlar\u0131 getirecektir. Bu konuda en canl\u0131 \u00f6rnek de\u011ferli sanat\u00e7\u0131 Ferhan \u015eensoy, \u00c7a\u011fda\u015f Ortaoyunu \u00e7al\u0131\u015fmalar\u0131yla sanat\u0131n\u0131 ba\u015far\u0131yla s\u00fcrd\u00fcrmektedir. Baz\u0131lar\u0131n\u0131n baz\u0131 konularda ondan \u00f6\u011frenecekleri olabilir.<\/p>\n <\/p>\n Notlar:<\/strong><\/p>\n (1) Dr. Sevin\u00e7 Sokullu, T\u00fcrk Tiyatrosunda Komedyan\u0131n Evrimi, KBY, Ankara, 1979, S. 124.<\/p>\n (2) Metin And, Geleneksel T\u00fcrk Tiyatrosu, \u0130nk\u0131lap Kitabevi, \u0130stanbul, 1985, S. 457.<\/p>\n (3) Age, S. 479.<\/p>\n (4) Dr. Sokullu, age, S. 14.<\/p>\n (5) V. Minosky, \u0130slam Ansiklopedisi, Maarif Bas\u0131mevi, \u0130stanbul, 1757, Cilt 7, S. 27.<\/p>\n (6) Dr. Sokullu, age, S. 124.<\/p>\n (7) Age, S. 104.<\/p>\n (8) M. And, age, S. 459.<\/p>\n (9) Age, S. 462.<\/p>\n (10) S. \u015eendil, Yedi Kocal\u0131 H\u00fcrm\u00fcz, Tiyatro-Film-Yay\u0131nc\u0131l\u0131k, \u0130stanbul, S. 30.<\/p>\n (11) Dr. Sokullu, age, S. 14.<\/p>\n (12) M. And, age, S. 457.<\/p>\n (13) Age, S. 479.<\/p>\n (14) Cumhuriyet 2, 30 May\u0131s 1993, S. 5.<\/p>\n (15) M. And, age, S. 457.<\/p>\n (16) Dr. Sokullu, age, S. 124.<\/p>\n (17) Ferhan \u015eensoy, \u015eahlar\u0131 da Vururlar, Orta Oyuncular Yay\u0131nlar\u0131, \u0130stanbul, 1982, S. 8<\/p>\n (18) \u015eehzat Ayartepe, Karadeniz Haber Gazetesi, Say\u0131 41, S.4, 7 \u201cLazlar\u0131n Tarih\u00e7esi\u201d (1 Aral\u0131k 1976).<\/p>\n (19) Andrew Mango, Discovering Turkey, B.T. Batsford Ltd, Londra, 1973, S. 23<\/p>\n (20) Michael Grant, Myths of the Greeks and Romans, Weidenfeld and Nicolson, Londra, 1962, S. 298<\/p>\n (21) V. Minosky, \u0130slam Ansiklopedisi, Maarif Bas\u0131mevi, \u0130stanbul, 1757, Cilt 7, S. 25<\/p>\n (22) \u015e. Ayartepe, ayn\u0131 yaz\u0131.<\/p>\n (23) Bilge Umar, T\u00fcrkiye\u2019deki Tarihsel Adlar, \u0130nk\u0131lap Kitabevi, \u0130stanbul, 1993, S. 511.<\/p>\n +<\/p>\n Kaynak: Ali \u0130hsan Aksamaz, \u201cLazlara G\u00fclmenin Dayan\u0131lmaz Hafifli\u011fi\u201d, G\u00fcndem Gazetesi\/<\/p>\n K\u00fclt\u00fcr-Sanat\u201d 15 Haziran 1993 Sal\u0131.<\/p>\n","protected":false},"excerpt":{"rendered":" Ali İhsan Aksamaz Geleneksel ve günümüz Türk Tiyatrosu’nda, Laz tiplemesi ve Lazlara biçilen rol: Lazlar, sözde sanatçıların malzemesi yapılmamalıdır. Geleneksel Türk Tiyatrosu’ndaki ve günümüz sözde tiyatro ve TV parodi ve skeçlerindeki Laz tiplemesiyle, Laz’ın hiçbir bakımdan gösterilmeye çalışıldığı gibi ortak bir benzerliği yoktur. Bizi kim güldürür? Kime güleriz? Neden güleriz? Bu ve benzer soruların cevabını, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_bbp_topic_count":0,"_bbp_reply_count":0,"_bbp_total_topic_count":0,"_bbp_total_reply_count":0,"_bbp_voice_count":0,"_bbp_anonymous_reply_count":0,"_bbp_topic_count_hidden":0,"_bbp_reply_count_hidden":0,"_bbp_forum_subforum_count":0,"ocean_post_layout":"","ocean_both_sidebars_style":"","ocean_both_sidebars_content_width":0,"ocean_both_sidebars_sidebars_width":0,"ocean_sidebar":"","ocean_second_sidebar":"","ocean_disable_margins":"enable","ocean_add_body_class":"","ocean_shortcode_before_top_bar":"","ocean_shortcode_after_top_bar":"","ocean_shortcode_before_header":"","ocean_shortcode_after_header":"","ocean_has_shortcode":"","ocean_shortcode_after_title":"","ocean_shortcode_before_footer_widgets":"","ocean_shortcode_after_footer_widgets":"","ocean_shortcode_before_footer_bottom":"","ocean_shortcode_after_footer_bottom":"","ocean_display_top_bar":"default","ocean_display_header":"default","ocean_header_style":"","ocean_center_header_left_menu":"","ocean_custom_header_template":"","ocean_custom_logo":0,"ocean_custom_retina_logo":0,"ocean_custom_logo_max_width":0,"ocean_custom_logo_tablet_max_width":0,"ocean_custom_logo_mobile_max_width":0,"ocean_custom_logo_max_height":0,"ocean_custom_logo_tablet_max_height":0,"ocean_custom_logo_mobile_max_height":0,"ocean_header_custom_menu":"","ocean_menu_typo_font_family":"","ocean_menu_typo_font_subset":"","ocean_menu_typo_font_size":0,"ocean_menu_typo_font_size_tablet":0,"ocean_menu_typo_font_size_mobile":0,"ocean_menu_typo_font_size_unit":"px","ocean_menu_typo_font_weight":"","ocean_menu_typo_font_weight_tablet":"","ocean_menu_typo_font_weight_mobile":"","ocean_menu_typo_transform":"","ocean_menu_typo_transform_tablet":"","ocean_menu_typo_transform_mobile":"","ocean_menu_typo_line_height":0,"ocean_menu_typo_line_height_tablet":0,"ocean_menu_typo_line_height_mobile":0,"ocean_menu_typo_line_height_unit":"","ocean_menu_typo_spacing":0,"ocean_menu_typo_spacing_tablet":0,"ocean_menu_typo_spacing_mobile":0,"ocean_menu_typo_spacing_unit":"","ocean_menu_link_color":"","ocean_menu_link_color_hover":"","ocean_menu_link_color_active":"","ocean_menu_link_background":"","ocean_menu_link_hover_background":"","ocean_menu_link_active_background":"","ocean_menu_social_links_bg":"","ocean_menu_social_hover_links_bg":"","ocean_menu_social_links_color":"","ocean_menu_social_hover_links_color":"","ocean_disable_title":"default","ocean_disable_heading":"default","ocean_post_title":"","ocean_post_subheading":"","ocean_post_title_style":"","ocean_post_title_background_color":"","ocean_post_title_background":0,"ocean_post_title_bg_image_position":"","ocean_post_title_bg_image_attachment":"","ocean_post_title_bg_image_repeat":"","ocean_post_title_bg_image_size":"","ocean_post_title_height":0,"ocean_post_title_bg_overlay":0.5,"ocean_post_title_bg_overlay_color":"","ocean_disable_breadcrumbs":"default","ocean_breadcrumbs_color":"","ocean_breadcrumbs_separator_color":"","ocean_breadcrumbs_links_color":"","ocean_breadcrumbs_links_hover_color":"","ocean_display_footer_widgets":"default","ocean_display_footer_bottom":"default","ocean_custom_footer_template":"","ocean_post_oembed":"","ocean_post_self_hosted_media":"","ocean_post_video_embed":"","ocean_link_format":"","ocean_link_format_target":"self","ocean_quote_format":"","ocean_quote_format_link":"post","ocean_gallery_link_images":"on","ocean_gallery_id":[],"footnotes":""},"categories":[135],"tags":[],"class_list":["post-24460","post","type-post","status-publish","format-standard","hentry","category-yazarlar-ali-ihsan-aksamaz-laz-kulturu","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/24460","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/comments?post=24460"}],"version-history":[{"count":1,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/24460\/revisions"}],"predecessor-version":[{"id":24473,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/24460\/revisions\/24473"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=24460"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=24460"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=24460"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}