Karagöz and Hacivat is a traditional Turkish shadow theatre based on the principle of moving human, animal, or object figures (called tasvir) made from camel or water buffalo hide by attaching them to rods and projecting them onto a white screen using light from behind.
The performer of Karagöz is called a hayali. The hayali is both narrator and creator of the performance, adapting the play according to the audience, rearranging scenes, and updating themes during the show.
Karagöz plays emphasize comic elements such as double meanings, exaggeration, wordplay, and imitation of regional dialects. These popular characters have been used for centuries to entertain and provoke thought. They originated in traditional Turkish folklore.
In performances, Karagöz and Hacivat figures are projected onto a screen using a light source behind thin leather cutouts. The audience watches the shadows reflected on the screen, which serves as the stage. The performances often use satire and humor to address social issues, daily life, and current events. Depending on the performer’s skill and creativity, the presentation may vary significantly.
Karagöz and Hacivat are an important part of Turkish cultural heritage, entertaining audiences while encouraging reflection through storytelling.
The Character of Karagöz
Karagöz is known for his innocent yet humorous and sometimes improper behavior. He often appears careless, comical, or lazy. He frequently acts foolishly or ignorantly, which generates laughter among the audience.
The Character of Hacivat
Hacivat is portrayed as more rational, polite, and refined. His role is typically to correct Karagöz’s misunderstandings, offer intelligent suggestions, and occasionally tease him. He balances the comic dynamic of the plays.
Importance for Children
Karagöz and Hacivat provide both educational and entertaining value. Through this traditional shadow theatre, children can learn stories, explore cultural heritage, and enjoy humor while gaining awareness of social themes.
The plays sometimes reference historical or social events, helping children understand social dynamics. The dialogues may support language development by exposing children to varied vocabulary and expressions.
The interaction between characters also allows children to observe emotional responses, potentially fostering empathy. Performing shadow plays themselves may enhance creativity and aesthetic perception. The tradition is often transmitted within families and communities, reinforcing cultural continuity.
Structure of a Karagöz Performance
- Character Introductions: The characters are introduced at the beginning.
- Story Development: A central story unfolds, involving comic or dramatic situations.
- Comic Exchanges: Karagöz’s misunderstandings and Hacivat’s corrections generate humor.
- Social Criticism: Satire is used to address social and moral issues.
- Dialogues: The core of the play consists of exchanges between Karagöz and Hacivat.
- Movement and Gesture: Figures are animated through coordinated movement behind the screen.
- Varied Themes: Myths, legends, love stories, and current events may be addressed.
- Audience Interaction: The performer may adjust the storyline based on audience reactions.
Who Performs Karagöz?
The performer is called a Karagözcü or hayali. Assistants may include the çırak, yardak, and dayrezen. Head movements of the puppets are used to signal speech changes. The historical existence of Karagöz and Hacivat remains uncertain.
Were Karagöz and Hacivat Real People?
There are many legends regarding their existence, but no definitive historical evidence confirms that they were real individuals. According to legend, during the reign of Sultan Orhan Gazi, there were two workers involved in the construction of the Grand Mosque in Bursa: Kambur Bâli Çelebi (Karagöz), a master blacksmith, and Halil Hacı İvaz (Hacıvat), a master mason (but we know that Grand Mosque was erected during Beyazid I era!). The other workers, wanting to listen to the witty exchanges between them, would stop their work and gather around, which caused the construction to progress slowly. When the Sultan learned of this, he had both of them executed (According to another version, they were reportedly exiled from the country). However, after some time, the Sultan regretted his decision and issued an order to find them. When Sheikh Küşteri could not locate Karagöz and Hacivat, he created a play by performing similar depictions behind a curtain, giving birth to this theatrical form. Even today, the Karagöz stage is called Sheikh Küşteri Square, and Sheikh Küşteri is regarded as the master of Karagöz puppetry.
Other Characters
In traditional Karagöz and Hacivat shadow theatre, aside from the main duo, there are several recurring secondary characters, each representing different social types, regions, or professions. These characters vary by region and playwright, but the most common include:
- Pişekar: The narrator or stage manager; directs the action and engages the audience.
- Tuzsuz Deli Bekir: A madcap, unpredictable character; often the source of chaotic humor.
- Altı Kariş Beberuhi: An eccentric dwarf; a comic figure notable for his unusual appearance and antics.
- Denyo: The half-wit; simple-minded but lovable, often misunderstanding situations for comic effect.
- Civan: The spendthrift; a character who squanders money, highlighting folly and social satire.
- Nigâr: A female role, usually flirtatious or playful; traditionally performed by men.
- Tiryaki: Coffee- or tobacco-loving, often lazy or talkative, adding everyday humor.
- Bekçi: The bumbling night watchman; slapstick and situational comedy.
The structure of the play is flexible, and new characters could be introduced depending on the satire, politics, or audience. The essence is a social comedy that juxtaposes educated vs. uneducated, city vs. village, and authority vs. common folk.
Cultural Significance
Alongside other traditional forms such as orta oyunu and meddah, Karagöz shadow theatre has played a major role in entertaining and stimulating social awareness for centuries.
In 2009, Karagöz was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.
Today, the tradition continues particularly in Bursa, where cultural institutions preserve and transmit the art to new generations of performers.
