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YEMT’ITL Nurb\u0131y<\/span><\/strong> Kuzey Kafkasya’da M\u00d6. 3000’inci y\u0131ldan bu yana, daha ba\u015fka bir ifade ile, g\u00fcn\u00fcm\u00fczden 5000 y\u0131l \u00f6ncesinden ba\u015flayarak yarat\u0131lan Proto-Adige k\u00fclt\u00fcr\u00fcn\u00fcn arkeolojik bulgular\u0131 bug\u00fcn d\u00fcnya arkeolojisi ve sanat\u0131 i\u00e7inde ‘Antik Kuban K\u00fclt\u00fcr\u00fc’ ad\u0131 alt\u0131nda se\u00e7kin bir yere sahiptir ve 5000 y\u0131ll\u0131k Adige Tarihi’ni alt\u0131n \u0131\u015f\u0131klarla yans\u0131tmaktad\u0131r. Bu d\u00f6neme ait buluntular\u0131n \u00e7o\u011fu alt\u0131n ve g\u00fcm\u00fc\u015ften i\u015flenmi\u015ftir. Bu geli\u015fime paralel olarak s\u00f6zl\u00fc k\u00fclt\u00fcr\u00fcm\u00fczde de az\u0131msanmayacak bir birikim olu\u015fmu\u015ftur. Binlerce y\u0131ldan bu yana, ku\u015faktan ku\u015fa\u011fa aktar\u0131la gelen s\u00f6zl\u00fc edebiyat gelene\u011fi b\u00fct\u00fcn canl\u0131l\u0131\u011f\u0131 ile yaz\u0131l\u0131 edebiyata, \u00e7a\u011fda\u015f Adige Edebiyat\u0131’na bir b\u00fct\u00fcn halinde ula\u015fm\u0131\u015f ve \u00e7a\u011fda\u015f edebiyat\u0131m\u0131z\u0131n \u015fekillenmesinde ana etken olmu\u015ftur.<\/span><\/span><\/p>\n Hatta bu etki o denli belirgindir ki, s\u00f6zl\u00fc edebiyat \u00fcr\u00fcnlerinin s\u00fcsl\u00fc abartmal\u0131 anlat\u0131ld\u0131\u011f\u0131, (Huahua) sanat\u0131n\u0131n doruklara y\u00fckseldi\u011fi Kabardey Edebiyat\u0131’nda etkileri g\u00f6r\u00fclebilmektedir. S\u00f6zl\u00fc edebiyat\u0131 daha yal\u0131n ve ger\u00e7ek\u00e7i bir \u00f6zellik g\u00f6steren Kuzey Abazlar\u0131n\u0131n \u00e7a\u011fda\u015f edebiyatlar\u0131na da ayn\u0131 \u00f6zellik yans\u0131m\u0131\u015ft\u0131r.<\/p>\n S\u00f6zl\u00fc edebiyat\u0131n \u00fcretildi\u011fi bu binlerce y\u0131ll\u0131k d\u00f6nemde, acaba teatral anlamda, Adige sanat\u0131 ne gibi \u00f6zellikler ve unsurlar ta\u015f\u0131m\u0131\u015ft\u0131r ya da ba\u015fka bir yakla\u015f\u0131mla, Antik \u00e7a\u011flardan 19’uncu y\u00fczy\u0131la dek \u00fcretilen Adige sanat\u0131n\u0131n i\u00e7erisinde tiyatronun durumu ne idi?<\/p>\n Teatral unsurlar var ise nelerdi?<\/p>\n Bu unsurlar \u00e7a\u011fda\u015f Adige tiyatrosunu nas\u0131l etkilemi\u015ftir?<\/p>\n B\u00fct\u00fcn bu sorular\u0131, yan\u0131tlamak i\u00e7in elimizde hen\u00fcz yeterince kaynak bulunmamaktad\u0131r.<\/p>\n Bu konular \u015f\u00fcphesiz Kuzey Kafkasya’da bu g\u00fcne dek i\u015flenmi\u015f ve ar\u015fivlenmi\u015ftir. Ancak tiyatro tarihi a\u00e7\u0131s\u0131ndan kaynak olabilecek tiyatro yay\u0131nlar\u0131 yay\u0131mlanm\u0131\u015f olsa bile hen\u00fcz bize ula\u015fmam\u0131\u015ft\u0131r. Bu nedenle bu t\u00fcr hi\u00e7 yay\u0131n yokmu\u015f\u00e7as\u0131na ara\u015ft\u0131rma yapmak zorunday\u0131z. Bu konuda da tiyatroya ilgi duyan gen\u00e7lerimize b\u00fcy\u00fck g\u00f6revler d\u00fc\u015fmektedir.<\/p>\n Efsane tekstlerinde tiyatro unsurlar\u0131 Kuzey Kafkasya Halk Efsanelar\u0131, halk\u0131n duygular\u0131n\u0131, ya\u015fam felsefesini, sanat\u0131n\u0131, zevklerini i\u00e7inde koruyarak ve saklayarak g\u00fcn\u00fcm\u00fcze ula\u015ft\u0131rm\u0131\u015ft\u0131r.<\/p>\n Bu g\u00fcn bu anlamda efsane metinleri incelendi\u011finde, kolayca teatral \u00f6\u011feler yakalanabilmektedir. \u00d6rne\u011fin, Nart Efsaneler”nde kahramanlar\u0131n toplant\u0131lar\u0131, d\u00fczenledikleri \u015f\u00f6lenler, teatral bir d\u00fczen i\u00e7erisinde geli\u015fmektedir. Ok atma, binicilik, g\u00fcre\u015f, dans yar\u0131\u015fmalar\u0131, \u00fc\u00e7 ayakl\u0131 sofra \u00fczerinde ya da sivri bir kaman\u0131n ucunda tasvir edilen danslar\u0131n anlat\u0131\u015f\u0131nda, kar\u015f\u0131l\u0131kl\u0131 konu\u015fmalar hep tiyatro d\u00fczeni i\u00e7erisinde geli\u015fmektedir.<\/p>\n \u00d6te yandan, naz\u0131m kal\u0131b\u0131 i\u00e7erisinde s\u00f6ylenen efsanelerde, antik \u00e7a\u011f Yunan Tiyatrosu’nda oldu\u011fu gibi ”recitative”lere (m\u00fczik aralar\u0131na serpi\u015ftirilmi\u015f d\u00fcz s\u00f6zler) korolar e\u015flik etmektedir.<\/p>\n Bu t\u00fcr teatral bir s\u00f6yle\u015fiye \u00f6rnek olarak Seteney’in \u00f6l\u00fcm\u00fcn\u00fc anlatan ‘Seteney \u00c7i\u00e7e\u011fi’ adl\u0131 tekstin bir b\u00f6l\u00fcm\u00fcn\u00fc aktarmakta yarar vard\u0131r: ‘(…) \u015eark\u0131 giderek y\u00fckselir, t\u00fcm \u00e7evre do\u011fa \u015fark\u0131ya e\u015flik eder. Kendilerinden ge\u00e7mi\u015f olan Nartlar, \u015fark\u0131y\u0131 dinlemektedir hala. Kimse yerinden k\u0131p\u0131rdamaz. Hepsi vurulur bu tanr\u0131sal g\u00fczellikteki sese…<\/p>\n O s\u0131rada Nart A\u015femez, kham\u0131lp\u015f\u0131ne<\/b>sini \u00e7\u0131kararak \u015fark\u0131ya e\u015flik eder! Nartlar da topluca \u015fark\u0131y\u0131 s\u00f6ylemeye ba\u015flarlar. A\u011fa\u00e7, \u00e7i\u00e7ek, kurt, ku\u015f, b\u00f6cek… T\u00fcm evren \u015fark\u0131ya kat\u0131l\u0131r:<\/p>\n Heyyy \u00e7i\u00e7ek neden kokars\u0131n? \u015eark\u0131ya kat\u0131lan k\u0131zlar, Ad\u0131yiukh<\/b>, Mel\u0131\u00e7\u0131pkhu<\/b>, Ahumudej<\/b> ve di\u011ferleri ellerindeki \u00e7i\u00e7ekleri mezar\u0131n \u00fczerine b\u0131rak\u0131p sessizce uzakla\u015f\u0131rlar. Nartlar her y\u0131l Kanjal Da\u011f\u0131’n\u0131n eteklerini iki kez ziyaret ederler, g\u00fcllerin a\u00e7ma zaman\u0131 Seteney’in \u015fark\u0131s\u0131n\u0131 hep birlikte s\u00f6ylerler.<\/p>\n Adige toplumunun tarih boyunca tekrarlam\u0131\u015f oldu\u011fu kimi geleneksel davran\u0131\u015flar\u0131n\u0131, duygular\u0131n\u0131 semboller ya da belli koreografik d\u00fczeni olan hareketler belirlemi\u015ftir. Bu teatral \u00f6zellikleri, bayram, yortu, ayin gelenekleriyle emek \u015fark\u0131lar\u0131nda ya\u015fatm\u0131\u015ft\u0131r.<\/p>\n Efsanelerde kimi zaman Seteney gua\u015fe, thamade Uezirmes’i kimi konularda denemelerden ge\u00e7irmek i\u00e7in erkek k\u0131l\u0131\u011f\u0131na girip g\u00fcn\u00fcm\u00fcz tiyatro sanat\u00e7\u0131lar\u0131na ta\u015f \u00e7\u0131kart\u0131r bi\u00e7imde b\u0131\u00e7k\u0131n delikanl\u0131 rol\u00fc oynar. Bu gibi anlat\u0131mlarda tiyatro unsurlar\u0131n\u0131 rahatl\u0131kla yakalamak olas\u0131d\u0131r. Ayr\u0131ca a\u011f\u0131tlar ve eski \u015fark\u0131larda (Uuered\u0131j) teatral unsurlar \u00e7ok belirgindir.<\/p>\n \u00d6rne\u011fin Adigelerin eski tap\u0131nma bi\u00e7imleri ‘Thatle’u<\/b>= Tanr\u0131ya yalvar\u0131\u015f’ belirli bir Tanr\u0131 onuruna yap\u0131lan kurban kesme t\u00f6renleri ya da Tanr\u0131’ya huahua okuma bi\u00e7iminde olurdu. Bu ayinler tiyatro unsurlar\u0131 ve koreografik motiflerle s\u00fcslenirdi. Her t\u00fcrl\u00fc yakar\u0131\u015f ve a\u011f\u0131tta tiyatral bir bi\u00e7imde recitativelerle ya da huahua<\/b>larla bir dizi anlams\u0131z \u00fcnlem (kafiye olu\u015fturan) e\u015flik ederdi. Yakar\u0131\u015f ve a\u011f\u0131tlarla veba, \u00e7i\u00e7ek, humma ve di\u011fer hastal\u0131klardan korunmay\u0131,yeni do\u011fan \u00e7ocuklar\u0131 kem g\u00f6zlerden korumay\u0131 ama\u00e7l\u0131yordu.<\/p>\n Ba\u015fka bir teatral t\u00f6ren ise ”\u00e7ap\u015fak’ue<\/b>”dir. Yaral\u0131n\u0131n ya da hastan\u0131n yatt\u0131\u011f\u0131 odada yap\u0131l\u0131rd\u0131. Proto-Adige insan\u0131na g\u00f6re, e\u011fer yaral\u0131 uyursa can\u0131 onu \u00e7abucak terk edebilirdi. (Bu gelenek ve temsili t\u00f6ren T\u00fcrkiye’deki Adige k\u00f6ylerinde \u015fimdilerde bile biraz de\u011fi\u015fik bir bi\u00e7imde uygulanmaktad\u0131r.) \u00c7ap\u015fak’ue t\u00f6reni ile ilgili olarak F. Torneau \u015f\u00f6yle demektedir: “Adigeler \u00f6l\u00fcm\u00fc a\u011f\u0131r yaral\u0131n\u0131n yan\u0131ndan kovmak i\u00e7in odada bulunan de\u011ferli e\u015fyalar\u0131 d\u0131\u015far\u0131 \u00e7\u0131kar\u0131rlar, giri\u015fe herkesin birka\u00e7 kez \u00e7arpaca\u011f\u0131 bir bi\u00e7imde saban\u0131n demirleri yerle\u015ftirilir. Ziyaret\u00e7iler topluca gelip odaya girdiklerinde y\u00fcksek sesle g\u00fcr\u00fclt\u00fc yaparlard\u0131. Gen\u00e7 k\u0131zlar da t\u00f6ren elbiselerini giyip gruba kat\u0131l\u0131rlar, \u00e7e\u015fitli danslar yap\u0131l\u0131r, \u015fark\u0131lar s\u00f6ylenirdi.”<\/p>\n Eski Adige ayinleri ve sembolik t\u00f6renleri aras\u0131nda dramatize edilmi\u015f bir temsil olan ‘aje\u011fafe<\/b>= ke\u00e7i dans\u0131n\u0131n \u00f6zel bir yeri vard\u0131r. Totemizm tasavvurundan yans\u0131yan aje\u011fafesiz<\/b> hi\u00e7bir Adige bayram\u0131 ge\u00e7memi\u015ftir.<\/p>\n Adige halk\u0131n\u0131n kurakl\u0131k zaman\u0131 uygulad\u0131\u011f\u0131 bir yakar\u0131 t\u00fcr\u00fc de ya\u011fmur dualar\u0131d\u0131r. Abazalarda “Dz\u0131vara<\/b>” , Adigelerde “Hantse gua\u015fe” denen giydirilmi\u015f, kukla haline getirilmi\u015f bir k\u00fcrek, kap\u0131 kap\u0131 gezdirilir, her kap\u0131da ya\u011fmuru sembolize eden su, grubun \u00fczerine serpilir, yiyecek toplanarak birlikte pi\u015firilip yenilirdi. Bu t\u00f6renlerin kendine has seyirlik koreografisi, \u015fark\u0131lar\u0131 primitif anlamda tiyatro \u00f6\u011feleri ta\u015f\u0131maktad\u0131r.<\/p>\n G\u00fcn\u00fcm\u00fcze dek s\u00fcregelen ve ger\u00e7ekten seyirlik bir oyun bi\u00e7iminde sahnelenen, ki\u015filerin konu\u015fma, savunma yeteneklerini ve al\u0131\u015fkanl\u0131klar\u0131n\u0131 artt\u0131rmaya, gelenekleri \u00f6\u011fretmeye y\u00f6nelik \u00f6zellikleri de olan ve \u00f6zellikle damad\u0131n (\u015fawue) d\u00fc\u011f\u00fcn s\u00fcresince misafir edilip a\u011f\u0131rland\u0131\u011f\u0131 kom\u015fu ya da arkada\u015f evinde yap\u0131lan temsili davran\u0131\u015flar tam anlam\u0131 ile g\u00fcncel bir tiyatro g\u00f6sterisi olmaktad\u0131r. Burada \u015fa\u015f\u0131rt\u0131larak olumsuz davran\u0131\u015fa itilen ki\u015fi, kurulan mahkemede yarg\u0131lan\u0131r, verilen cezalar kar\u015f\u0131l\u0131\u011f\u0131 o toplulu\u011fun daha ileriki bir tarihte bir araya gelmesini ya da ho\u015f\u00e7a vakit ge\u00e7irmesini sa\u011flamak bak\u0131m\u0131ndan yeni \u015f\u00f6lenler d\u00fczenlemek zorunlulu\u011fu getirilirdi. Bu toplant\u0131larda yap\u0131lan konu\u015fmalar, sembolik olarak su\u00e7 i\u015fleyen ki\u015finin yarg\u0131lanmas\u0131, bu ki\u015finin kendini savunmas\u0131, dinleyen gen\u00e7 ku\u015faklara ayr\u0131ca bir \u00f6\u011freti g\u00f6sterisi olurdu. Bu gelenek \u015fimdilerde biraz bi\u00e7im de\u011fi\u015ftirerek s\u00fcrmektedir.<\/p>\n Ara\u015ft\u0131rmac\u0131 F. Torneau, Adigelerde ge\u00e7mi\u015f \u00e7a\u011flar\u0131n \u00f6yk\u00fclerini s\u00f6yleyen ve yeni olaylar \u00fczerine do\u011fa\u00e7lama olarak \u015fiirler okuyan gezgin ozanlara s\u0131k s\u0131k rastland\u0131\u011f\u0131n\u0131 yazmaktad\u0131r. “Bu ozanlar, halka halinde oturan toplulu\u011fun ortas\u0131na gelip oturur, s\u00f6zlerine al\u00e7ak sesle ve kamalar\u0131n\u0131n kabzas\u0131na yava\u015f yava\u015f herhangi bir \u00e7\u0131nlay\u0131c\u0131 obje ile vurarak ba\u015flarlar, daha sonra bu uyumlu \u00f6l\u00e7\u00fc h\u0131zlan\u0131r, ses g\u00fc\u00e7lenir, al\u00e7ak sesli resitativ y\u00fcksek tondaki \u015fark\u0131ya d\u00f6n\u00fc\u015ferek, dinleyen, Adigeleri s\u0131n\u0131rs\u0131z co\u015fkuyla s\u00fcr\u00fcklerdi.<\/p>\n \u00c7o\u011fu kez bu ozanlar yedi telli arplar\u0131n\u0131 yanlar\u0131nda ta\u015f\u0131rlar. Bu saz\u0131n d\u0131\u015f\u0131nda Adigelerde \u00fc\u00e7 m\u00fczik aleti daha g\u00f6rd\u00fcm, iki telli balalayka, iki telli keman ve elbette kaval”. Ceguakue<\/b> denilen bu halk ozanlar\u0131n\u0131n b\u00fcy\u00fck bir sayg\u0131nl\u0131klar\u0131 vard\u0131.<\/p>\n Maksim Gorki, halk\u0131n toplumsal ya\u015fam\u0131nda ceguakue<\/b>lar\u0131n i\u015flevini belirtmektedir, “Kafkas’ta, Kabardey’de, daha yak\u0131n tarihlere kadar A. Vasilliyevski’nin deyi\u015fi ile evsiz barks\u0131z ceguakuelar, halk ozanlar\u0131 vard\u0131.<\/p>\n Bunlardan birisi kendi g\u00fcc\u00fcn\u00fc ve ere\u011fini \u015f\u00f6yle belirtmektedir; ben bir s\u00f6z\u00fcmle bir korkaktan kendi halk\u0131n\u0131 koruyan bir kahraman, birazda namuslu bir insan yarat\u0131r\u0131m. G\u00f6z\u00fcm\u00fcn \u00f6n\u00fcnde hi\u00e7 kimse yalana dolana kalk\u0131\u015famaz, ben b\u00fct\u00fcn k\u00f6t\u00fcl\u00fcklere ve namussuzluklara kar\u015f\u0131y\u0131m” Devrim \u00f6ncesi ve sonras\u0131 d\u00f6nemde ise Nart Efsaneleri’nin tan\u0131nm\u0131\u015f yorumcular\u0131 olan ceguakuelar \u015fu isimlerdir:<\/p>\n KILI\u00c7IKUE Sijaje, PA\u00c7E Be\u00e7m\u0131rza, TEU\u00c7EJ Tsu\u011f (Adigey B\u00f6lgesi), Nart Efsaneleri’nin t\u00fcrevi olan \u00e7ok orijinal m\u00fczikal sahne yap\u0131tlar\u0131 da \u00fcretilmi\u015ftir. K\u0130\u015eOKUE Alim’in “Gen\u00e7li\u011fin Topra\u011f\u0131” adl\u0131 \u00fcnl\u00fc poemi, AKSIRA Zalimkhan’\u0131n “Dakhena\u011fo” adl\u0131 piyes \u00f6yk\u00fcs\u00fc, bu piyesten yararlan\u0131l\u0131p yaz\u0131lan \u00fcnl\u00fc kompozit\u00f6r Mole Vladimir’ in “Opera”s\u0131, KUA\u015e Betal ve T. \u015eeiblera’n\u0131n “Nartlar Kantat\u0131”, Nart S\u00fcje ve melodileri sahnede koreografik anlamda ger\u00e7ekle\u015fme olana\u011f\u0131 da bulmu\u015ftur.<\/p>\n \u00d6rne\u011fin; kompozit\u00f6r L.Ko\u015fana ve bale ustas\u0131 A. Protsenko’nun sahneledikleri “Dakhena\u011fo Balesi”. Ba\u015fka \u00fcnl\u00fc bir yap\u0131t ise “Sosr\u0131kua Balesi”dir.<\/p>\n Yukar\u0131da s\u00f6z\u00fcm\u00fcze ba\u015flarken belirtti\u011fimiz gibi, Kuzey Kafkasya’da tiyatronun tarihsel geli\u015fimi konusunda, bug\u00fcnk\u00fc tiyatro ya\u015fam\u0131n\u0131n baz\u0131 b\u00f6lgelerde ne t\u00fcr bir geli\u015fim g\u00f6sterdi\u011fi konular\u0131nda elimizde yeterli kaynak bulunmamaktad\u0131r.<\/p>\n \u00d6rne\u011fin; Da\u011f\u0131stan, \u00c7e\u00e7enistan, Osetya, Adigey, Abhazya’da tiyatro sanat\u0131n\u0131n boyutlar\u0131 ya da \u00fcretilen yap\u0131tlar, \u00fcnl\u00fc tiyatro adamlar\u0131 hakk\u0131nda ayr\u0131nt\u0131l\u0131 bilgimiz bulunmamaktad\u0131r. Kabardey ve Kara\u00e7ay-Adigeya’daki tiyatro ya\u015fam\u0131 ile ilgili bilgimiz ise k\u0131s\u0131tl\u0131d\u0131r. Yukar\u0131da belirtilen yap\u0131tlar d\u0131\u015f\u0131nda Kabardey’de \u00fcnl\u00fc klasik ozan\u0131m\u0131z SOCENTSIKU Ali’nin \u00fcnl\u00fc poemi Madina \u00fczerinden librettosu yaz\u0131larak bestelenen Madina operas\u0131 ile daha \u00f6nce s\u00f6z\u00fcn\u00fc etti\u011fimiz Sosrukua balesinin sahne \u00e7ekimlerinin Nal\u00e7ik Televizyonu st\u00fcdyosunda g\u00f6sterilmesine tan\u0131k oldu\u011fum i\u00e7in kendimi \u015fansl\u0131 saymaktay\u0131m. Bu iki g\u00f6rkemli yap\u0131t d\u0131\u015f\u0131nda ba\u015fka m\u00fczikaller de bulunmaktad\u0131r. Kabardey b\u00f6lgesinde sahneye konuldu\u011funu an\u0131msad\u0131\u011f\u0131m tarihi bir trajedi ise “Tirgatavvue” oyunudur. Bosfor-Kimmerien imparatoru ile Sind-Meot Krali\u00e7esi aras\u0131nda ve bu iki toplumun ili\u015fkileri \u00fczerine yaz\u0131lan, \u00fcnl\u00fc draman\u0131n kayna\u011f\u0131, arkeolojik bulgular \u00fczerine anlat\u0131lan olaylard\u0131r. Kabardey’de yaz\u0131lan bir ba\u015fka \u00fcnl\u00fc trajik piyes ise AKSIRA Zalimkhan’\u0131n derne\u011fimiz tiyatro grubunca ge\u00e7mi\u015f y\u0131llarda ba\u015far\u0131 ile sergilenen “Y\u0131stanb\u0131lakue = \u0130stanbul Yolu”dur. B\u00fcy\u00fck Adige S\u00fcrg\u00fcn\u00fc’n\u00fc sosyo-ekonomik, sosyo-politik a\u00e7\u0131lardan inceleyen bu yap\u0131t Ankara’da b\u00fcy\u00fck be\u011feni toplam\u0131\u015ft\u0131r.<\/p>\n Akla gelen ba\u015fka yap\u0131tlar\u0131n ba\u015f\u0131nda UTIJ Boris’in yazd\u0131\u011f\u0131 “Gua\u015fem\u0131da hable= Kaynana Sevmeyen Mahalle” oyunudur. Bu yap\u0131tta efsane \u00f6\u011feleri ve mitolojik kahramanlardan hareketle \u00e7a\u011fda\u015f ya\u015famda ve geleneklerde ortaya \u00e7\u0131kan de\u011fi\u015fiklikler, ince bir g\u00fcld\u00fcr\u00fc dokusu i\u00e7inde verilmektedir. Kara\u00e7ay-Adigeya edebiyat\u0131n\u0131n ve \u00f6zellikle de Abaza dilinin en g\u00fczel kullan\u0131ld\u0131\u011f\u0131 yap\u0131tlar\u0131n ba\u015f\u0131nda gelen iki b\u00f6l\u00fcml\u00fc “Zuli ve Zarila”y\u0131 \u00fcnl\u00fc e\u011fitimci ve yazar TOB\u0130L Tolastan kaleme alm\u0131\u015ft\u0131r. Yap\u0131t\u0131n birinci b\u00f6l\u00fcm\u00fcnde feodal gelenekleri yeti\u015ftirilmi\u015f, kad\u0131n\u0131n bir ticaret metas\u0131 gibi g\u00f6r\u00fcld\u00fc\u011f\u00fc eski d\u00f6nemlerdeki mutsuz, ezilip horlanan bir Adige kad\u0131n\u0131 olan ‘Zuli’ ele al\u0131nmaktad\u0131r. \u0130kinci b\u00f6l\u00fcmde ise e\u011fitim g\u00f6rm\u00fc\u015f, meslek sahibi, \u00fcreten, \u00e7al\u0131\u015fan, ki\u015fili\u011fini bulmu\u015f, kendi iste\u011fi ile se\u00e7erek evlenmi\u015f \u00e7a\u011fda\u015f bir Adige kad\u0131n\u0131 olan ‘Zar\u0131le’nin toplum i\u00e7erisindeki i\u015flevi ve sayg\u0131nl\u0131\u011f\u0131 dile getirilmektedir.<\/p>\n","protected":false},"excerpt":{"rendered":" YEMT’ITL Nurbıy Adige Mak Gazetesi, Ekim 2013 Çeviri: AÇUMIJ Hilmi Kuzey Kafkasya’da MÖ. 3000’inci yıldan bu yana, daha başka bir ifade ile, günümüzden 5000 yıl öncesinden başlayarak yaratılan Proto-Adige kültürünün arkeolojik bulguları bugün dünya arkeolojisi ve sanatı içinde ‘Antik Kuban Kültürü’ adı altında seçkin bir yere sahiptir ve 5000 yıllık Adige Tarihi’ni altın ışıklarla yansıtmaktadır. […]<\/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":"0","ocean_second_sidebar":"0","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":"0","ocean_custom_header_template":"0","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":"0","ocean_menu_typo_font_family":"0","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":"0","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":"off","ocean_gallery_id":[],"footnotes":""},"categories":[55],"tags":[],"class_list":["post-5907","post","type-post","status-publish","format-standard","hentry","category-tiyatro","entry"],"_links":{"self":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/5907","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=5907"}],"version-history":[{"count":2,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/5907\/revisions"}],"predecessor-version":[{"id":20978,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/posts\/5907\/revisions\/20978"}],"wp:attachment":[{"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/media?parent=5907"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/categories?post=5907"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.circassiancenter.com\/tr\/wp-json\/wp\/v2\/tags?post=5907"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nAdige Mak Gazetesi, Ekim 2013
\n\u00c7eviri: A\u00c7UMIJ Hilmi<\/span><\/p>\n
\nParlakl\u0131\u011f\u0131n\u0131 y\u0131ld\u0131zlardan alm\u0131\u015f,
\n\u00c7evresi ipek gibi Doruklar\u0131n beyaz ayd\u0131nl\u0131\u011f\u0131,
\nG\u00f6ren g\u00f6zlerin sevinci,
\nKalplere y\u00fccelik veren, Nart g\u00fcc\u00fcn\u00fcn arma\u011fan\u0131,
\nYa\u015fam\u0131n s\u00fcs\u00fc,
\nBakanlar vurulur sana, Herkesi sevindiren,
\nYi\u011fitlerin kalbindeki.<\/p>\n
\nAdige tiyatro sanat\u0131n\u0131n tohumlar\u0131, ceguakuelar\u0131n bu toplant\u0131lar\u0131nda s\u00f6yledikleri \u015fark\u0131lar\u0131n mimik ve jestlerle s\u00fcslenmesi ile at\u0131lm\u0131\u015ft\u0131r. Uzak ge\u00e7mi\u015fteki ceguakuelar\u0131n isimleri hakk\u0131nda hi\u00e7bir bilgimiz yoktur. XIX. y\u00fczy\u0131ldan ise iki ceguakuenin ad\u0131n\u0131 bilmekteyiz. Birisi Kapl\u0131ca’da (Pyatigorsk-Adige\u00e7e Ps\u0131huabe) M. Y. Lermontov’la tan\u0131\u015fan \u00fcnl\u00fc Kerim Girey, di\u011feri ise La\u015fe Agnokua’d\u0131r.<\/p>\n
\nSA\u011e\u0130D M\u0131je, KUNDUKO Nuh (Adige B\u00f6lgesi),
\nHAKHUPA\u00c7E Am\u0131rkhan…<\/p>\n