A Martyr of the Multicultural Ottoman Theatre: The Ottoman-Armenian Legacy of Mardiros Mnagian (1912–1920)

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Cover of Volume: DIYÂR Volume 5 (2024), Edition 1
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DIYÂR

Volume 5 (2024), Edition 1

Authors:
Publisher
Ergon, Baden-Baden
Copyright year
2024
ISSN-Online
2942-3155
ISSN-Print
2625-9842

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Full access

Volume 5 (2024), Edition 1

A Martyr of the Multicultural Ottoman Theatre: The Ottoman-Armenian Legacy of Mardiros Mnagian (1912–1920)

Authors:
ISSN-Print
2625-9842
ISSN-Online
2942-3155
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On May 12, 1912, the Varyete Tiyatrosu in Istanbul’s Beyoğlu district hosted a seminal event in the annals of Ottoman theatre: the first official jubilee honoring the Armenian actor and director Mardiros Mnagian for his half-century of contributions to the empire’s theatrical arts. This event preluded the 1914 establishment of Darü’l Bedâyi, the inaugural Turkish theatre, by Turkish Muslim intellectuals and the Istanbul city government. While Mnagian’s role as principal drama instructor at Darü’l Bedâyi’s was proof of his initial import to the institution, he was not immune to politically motivated exclusion. His abrupt dismissal on July 13, 1915, speaks to the larger shadow of the Armenian Genocide, which removed Armenian talent from the burgeoning Turkish theatrical scene. After his dismissal, Mnagian dedicated his remaining years to nurturing new Armenian theatre troupes, leaving an indelible mark on the cultural landscape until his death in 1920. Mnagian’s life and career, often overlooked by scholars, present a compelling study of an individual navigating the dual facets of an Ottoman-Armenian identity within the theatrical realm. This research aims to delve into Mnagian’s intricate identity interplay, dissecting how he balanced and projected his Armenian and Ottoman personas in his theatrical pursuits. Such an inquiry not only resurrects Mnagian’s obscured legacy but also illuminates the dynamics of cooperation and the subsequent dominance of the Ottoman-Turkish community over the Ottoman-Armenian community in the cultural sphere. Mnagian’s contributions transcended communal lines; he was not only a seminal figure in Western-style Armenian theatre but also, as his name suggested, a martyr in the evolution of Turkish theatre. His life and death bridge cultures in a textured narrative of service and unity, underscoring the multifaceted role he played in shaping the theatrical heritage of the Ottoman Empire.

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