{"id":484,"date":"2026-02-06T12:24:00","date_gmt":"2026-02-06T12:24:00","guid":{"rendered":"https:\/\/atlas.univie.ac.at\/?p=484"},"modified":"2026-02-12T13:11:31","modified_gmt":"2026-02-12T13:11:31","slug":"forthcoming-articles","status":"publish","type":"post","link":"https:\/\/atlas.univie.ac.at\/?p=484","title":{"rendered":"Hagop Ayvaz\u2019s Armeno-Turkish Monologue “Sizi Seviyorum” (1932): Archival Context and Transcription"},"content":{"rendered":"\n

Emre G\u00f6rkem Onur (University of Vienna)<\/p>\n\n\n\n

<\/p>\n\n\n\n

\"\"
Figure 1: Hagop Ayvaz, Ref.No. 1.1.7.285, Hagop Ayvaz Collection, Hrant Dink Foundation Archive, Istanbul.<\/figcaption><\/figure>\n\n\n\n

Hagop Ayvaz and His Archive<\/strong><\/p>\n\n\n\n

Hagop Ayvaz (1911\u20132006) occupies a unique position in the cultural and theatrical history of Turkey. Known primarily as an actor, theatre critic, editor, playwright, and archivist, Ayvaz dedicated much of his life to documenting and preserving the theatrical landscape of the Late Ottoman Empire and the Turkish Republic. He was the founder and long-time editor of Kulis<\/em>, the longest-running theatre periodical in Turkey, published primarily in Western Armenian, with occasional Turkish-language issues and contributions. Through Kulis<\/em>, Ayvaz not only documented performances, artists, and institutions but also created an alternative archive of theatre history that resisted the nationalising tendencies of official historiography.[1]<\/a><\/p>\n\n\n\n

Kulis was established in 1946, during a period of cultural uncertainty following the Second World War, as the gradual removal of informal constraints on Armenian-language theatre in Turkey began.[2]<\/a> Established by Hagop Ayvaz together with Zareh Ar\u015fag and Nazaret Donikyan, the magazine soon became almost entirely Ayvaz\u2019s responsibility and developed into the longest-running theatre periodical in Turkey, appearing in 1,104 issues until 1996.[3]<\/a> Published primarily in Western Armenian, Kulis<\/em> also included Turkish-language issues and contributions, reflecting Ayvaz\u2019s sustained engagement with Turkish theatre and intercultural exchange.[4]<\/a> Beyond its documentary function, the magazine operated as a transnational platform, connecting Armenian theatre practitioners across Istanbul and the diaspora through extensive networks cultivated by Ayvaz.[5]<\/a> Read widely in working- and middle-class Armenian neighbourhoods of Istanbul, Kulis<\/em> preserved theatrical memory and everyday cultural knowledge at a time when Armenian cultural production remained structurally marginalised within the Republican nation-state.[6]<\/a><\/p>\n\n\n\n

\"\"
Figure 2: Hagop Ayvaz, Kulis, no. 1104. Hagop Ayvaz Collection, Ref. No. 1.2.7.57. Hagop Ayvaz Collection, Hrant Dink Foundation Archive, Istanbul.<\/figcaption><\/figure>\n\n\n\n

Ayvaz\u2019s personal archive, today preserved at the Hrant Dink Foundation in Istanbul, reflects his lifelong commitment to documentation, memory, and cultural continuity. Built largely through his half-century-long editorial work on Kulis<\/em>, the archive contains unpublished manuscripts, handwritten notes, photographs, correspondence, theatre programmes, press clippings, and personal belongings. After Ayvaz\u2019s death in 2006, the collection was systematically catalogued and digitised by the Foundation, making it accessible for scholarly research.<\/p>\n\n\n\n

The archive has also been introduced to a wider public through the exhibition Coulisse<\/em>, curated by Esen \u00c7amurdan (Theatre Foundation of Turkey), Kevser G\u00fcler (Yap\u0131 Kredi Culture, Arts, and Publishing), and Banu At\u00e7a (Hrant Dink Foundation).[7]<\/a> The exhibition foregrounded Ayvaz\u2019s life and archive and highlighted Armenian contributions to Ottoman and Turkish theatre during periods of cultural marginalisation. Rather than presenting the archive as a static repository, Coulisse<\/em> emphasised practices of collecting, citation, and preservation as forms of cultural continuity and resilience.[8]<\/a> The exhibition remains accessible as a digital experience, allowing visitors to explore Ayvaz\u2019s archive and theatrical legacy online.[9]<\/a><\/p>\n\n\n\n

Beyond its documentary value, the archive functions as a site of cultural memory. It preserves traces of theatrical practices and artistic lives that have often been marginalised or excluded from dominant narratives of Turkish theatre history and historiography. As such, Ayvaz\u2019s archive does not merely record the past; it actively reshapes how that past can be accessed, interpreted, and remembered today.[10]<\/a><\/p>\n\n\n\n

Archival Context and the Hrant Dink Foundation<\/strong><\/p>\n\n\n\n

Following Ayvaz\u2019s death, his archive was entrusted to Agos<\/em> and subsequently became part of the Hrant Dink Foundation\u2019s archival collections. The Foundation plays a crucial role in safeguarding cultural heritage in Turkey. Within this institutional framework, the Hagop Ayvaz Archive is preserved, catalogued, and made accessible for scholarly research.[11]<\/a><\/p>\n\n\n\n

The present transliteration is based on a handwritten manuscript preserved in this archive. Access to the document was granted for academic research purposes, and its publication here follows archival guidelines that balance accessibility with the protection of fragile and historically significant materials. Selected images of the manuscript are reproduced with permission to illustrate the material characteristics of the source, while the focus of this publication remains on the textual content through transliteration.<\/p>\n\n\n\n

The Manuscript Sizi Seviyorum<\/em><\/strong>[12]<\/a> (1932)<\/strong><\/p>\n\n\n\n

Among the unpublished materials preserved in Ayvaz\u2019s archive is the handwritten monologue \u054d\u056b\u0566\u056b \u054d\u0567\u057e\u056b\u0575\u0585\u0580\u0578\u0582\u0574 [Sizi Seviyorum<\/em> (\u201cI Love You\u201d)], dated to 1932. Written in Turkish using the Armenian alphabet, the text belongs to the tradition commonly referred to as Armeno-Turkish.<\/p>\n\n\n\n

The manuscript consists of two textual sections written in the form of a monologue and bears Ayvaz\u2019s signature, accompanied by the designation \u201cwritten by\u201d in Armenian.[13]<\/a> While these sections are preserved together in the archival file, it remains unclear whether they were conceived as a single, continuous monologue or as two independent textual parts.<\/p>\n\n\n\n

The text was never published or staged, and there is no evidence that Ayvaz intended it for public performance. Rather than constituting a finished theatrical work, the manuscript appears to occupy an intermediate space between theatrical writing, personal reflection, and literary experimentation.<\/p>\n\n\n\n

This publication emphasises the archival, editorial, and contextual treatment of the manuscript. [14]<\/a> <\/p>\n\n\n\n

Armeno-Turkish as Archival Practice<\/strong><\/p>\n\n\n\n

The use of Armenian script to write Turkish situates Sizi Seviyorum<\/em> within a long but discontinuous tradition of Armeno-Turkish writing. Historically, Armenian communities across the Ottoman Empire used Turkish extensively in daily life, education, and literary production, often employing the Armenian alphabet.[15]<\/a> By the early Republican period, however, this practice had largely disappeared within Turkey.<\/p>\n\n\n\n

The presence of an Armeno-Turkish manuscript dated 1932 is therefore noteworthy in itself. It signals the persistence of a scriptural practice at a moment when linguistic and cultural homogenisation was being actively promoted.[16]<\/a> Within the archive, the manuscript appears alongside materials that document Armenian participation in Turkish-language cultural, theatrical, and public spheres. In this sense, the manuscript functions not only as a literary text but also as an archival trace of cultural pluralism and memory. Its preservation allows contemporary readers to encounter a form of writing that challenges rigid boundaries between languages, scripts, and cultural affiliations.<\/p>\n\n\n\n

Transliteration as Editorial Practice<\/strong><\/p>\n\n\n\n

The Armeno-Turkish monologue (play) Sizi Seviyorum<\/em> has been transliterated following the principles proposed by H\u00fclya \u00c7elik and Ani Sargsyan in their comparative study on Armeno-Turkish literary standards.[17]<\/a> This approach aims to ensure consistency with established scholarly practices while remaining attentive to the specific characteristics of the manuscript.<\/p>\n\n\n\n

As the original document is not consecutively paginated\u2014bearing only a \u201c1\u201d on its second page, where the monologue starts\u2014the present transliteration has been structured for purposes of readability, reference, and citation. Pagination and paragraph divisions introduced in the transliteration serve as editorial aids and do not reflect the material organisation of the manuscript itself. In transliterating Ayvaz\u2019s monologue (play), the original punctuation has been preserved. Particular attention has been paid to the use of ellipses and abrupt periods, which constitute an important stylistic feature of the text. These elements shape the rhythm and tone of the monologue and are therefore retained without normalization.<\/p>\n\n\n\n

The transliteration does not aim at linguistic modernization or standardisation. Orthographic peculiarities and non-standard spellings have been preserved where possible in order to reflect the historical and linguistic specificity of the text.<\/p>\n\n\n\n

The transliteration is intended as an editorial and documentary intervention. It seeks to make the text accessible to readers unfamiliar with the Armenian script while preserving the linguistic texture and formal features of the original manuscript. The present publication is limited to the archival and editorial context of the manuscript. A detailed analysis of the monologue\u2019s structure, language, socio-political, historical and theatrical implications is developed elsewhere in the author\u2019s Master\u2019s thesis Performing Identity? Hagop Ayvaz\u2019s \u201cI Love You\u201d and its Contribution to the Armeno-Turkish Theatrical Landscape<\/em> (University of Vienna, 2025).[18]<\/a><\/p>\n\n\n\n

\n\n\n\n

[1]<\/a> Ay\u015fan S\u00f6nmez, \u201cHagop Ayvaz: An \u2018Honn\u00eate Homme\u2019 Negotiating Life in a New Nation-State \u2014 The \u2018Rebirth\u2019 of Armenian Theatre in the Turkish \u2018Underground,\u2019\u201d Observatoire de la Turquie contemporaine<\/em>, September 15, 2021, https:\/\/www.observatoireturquie.fr\/hagop-ayvaz-an-honnete-homme-negotiating-life-in-a-new-nation-state-the-rebirth-of-armenian-theatre-in-the-turkish-underground<\/a><\/p>\n\n\n\n

[2]<\/a> Nesim Ovadya \u0130zrail, Osmanl\u0131 ve T\u00fcrkiye Tiyatrosunda \u015eahinyanlar <\/em>(Istanbul: BGST Yay\u0131nlar\u0131, 2018), 133-134.<\/p>\n\n\n\n

[3]<\/a> Ibid.<\/p>\n\n\n\n

[4]<\/a> S\u00f6nmez, \u201cHagop Ayvaz,\u201d 12.<\/p>\n\n\n\n

[5]<\/a> Ibid., 10-11.<\/p>\n\n\n\n

[6]<\/a> Ibid., 3.<\/p>\n\n\n\n

[7]<\/a> At\u00e7a et al., Coulisse: Hagop Ayvaz, A Chronicler of Theater \/ Kulis: Bir Tiyatro Belle\u011fi, Hagop Ayvaz <\/em>(Istanbul: Yap\u0131 Kredi Yay\u0131nlar\u0131, 2020), 7\u20139.<\/p>\n\n\n\n

[8]<\/a> Esen \u00c7amurdan, \u201cA Journey Through the Hagop Ayvaz Archive,\u201d in Coulisse: Hagop Ayvaz, A Chronicler of Theater \/ Kulis: Bir Tiyatro Belle\u011fi, Hagop Ayvaz <\/em>(Istanbul: Yap\u0131 Kredi Yay\u0131nlar\u0131, 2020), 11-16.<\/p>\n\n\n\n

[9]<\/a>https:\/\/my.matterport.com\/show\/?m=56QoccVoN7t&fbclid=IwAR33iLTbTLLKodxE4zDXyMdySRzVXQ9h9n-H2paZEuh9gRS78VrZ_oJP-LQ<\/a><\/p>\n\n\n\n

[10]<\/a> https:\/\/archive.hrantdink.org\/tc\/5ede1fba10c3f90060036522<\/a><\/p>\n\n\n\n

[11]<\/a> https:\/\/my.matterport.com\/show\/?m=56QoccVoN7t&fbclid=IwAR33iLTbTLLKodxE4zDXyMdySRzVXQ9h9n-H2paZEuh9gRS78VrZ_oJP-LQ<\/a><\/p>\n\n\n\n

[12]<\/a> Ayvaz, Hagop. \u054d\u056b\u0566\u056b \u054d\u0567\u057e\u056b\u0575\u0585\u0580\u0578\u0582\u0574 <\/em>[Sizi Seviyorum]. HA292-154. Hagop Ayvaz Collection. Hrant Dink Foundation Archive, Istanbul, 1932.<\/p>\n\n\n\n

[13]<\/a> Ibid., 11 and 32<\/p>\n\n\n\n

[14]<\/a> The author is working on a more comprehensive article on this topic. <\/p>\n\n\n\n

[15]<\/a> Manoukian, Jennifer. \u201cForbidden Attraction: Ottoman Armenians and the Turkish Language in the Age of Nationalism.\u201d Journal of the Ottoman and Turkish Studies Association <\/em>11, no. 1 (Spring 2024): 209\u2013243. <\/p>\n\n\n\n

[16]<\/a> Esra Dicle, \u201cNationalist Affection in the Theatre Plays of the People\u2019s Houses Period (1932\u20131951),\u201d in Reconsidering Turkish Theatre<\/em>, eds. \u0130hsan Kerem Karabo\u011fa, Nihan \u015eent\u00fcrk (Istanbul: Istanbul University Press, 2025, 143-159 and Esra Dicle Ba\u015fbu\u011f, Resm\u00ee \u0130deoloji Sahnede: Kemalist \u0130deolojinin \u0130n\u015fas\u0131nda Halkevleri D\u00f6nemi Tiyatro Oyunlar\u0131n\u0131n Etkisi <\/em>(\u0130stanbul: \u0130leti\u015fim Yay\u0131nlar\u0131, 2013). <\/p>\n\n\n\n

[17]<\/a> \u00c7elik, H\u00fclya, and Sargsyan, Ani. \u201cIntroducing Transcription Standards for Armeno-Turkish Literary Studies.\u201d Diy\u00e2r <\/em>3, no. 2 (2022): 161\u2013189. Emre G\u00f6rkem Onur, Performing Identity? Hagop Ayvaz\u2019s \u201cI Love You\u201d and Its Contribution to the Armeno-Turkish Theatrical Landscape<\/em> (Master\u2019s thesis, University of Vienna, 2025).<\/p>\n\n\n\n

[18]<\/a> Emre G\u00f6rkem Onur, Performing Identity? Hagop Ayvaz\u2019s \u201cI Love You\u201d and Its Contribution to the Armeno-Turkish Theatrical Landscape<\/em> (Master\u2019s thesis, University of Vienna, 2025).<\/p>\n\n\n\n

\n\n\n\n

Transcription<\/h2>\n\n\n\n

Hagop Ayvaz \u2013 \u054d\u056b\u0566\u056b \u054d\u0567\u057e\u056b\u0575\u0585\u0580\u0578\u0582\u0574<\/em> <\/em>[Sizi Seviyorum]<\/em>, transliterated from Armeno-Turkish by Emre G\u00f6rkem Onur<\/p>\n\n\n\n

\u0544\u0585\u0576\u0585\u056c\u0585\u0563
Monolo\u1e33
\u054d\u056b\u0566\u056b \u054d\u0567\u057e\u056b\u0575\u0585\u0580\u0578\u0582\u0574 \u2013
Sizi Seviyorum<\/em>
H. Ayvaz
(Kulis)

Hrant Dink Foundation Archive, Hagop Ayvaz Collection Ref. No 1.3.1.1<\/td>		\"\"<\/td><\/tr>
[2] \u2013 Sizi seviyorum \u2013
Muhterem han\u0131mlar ve bey efendiler.. hele.. matmazeller sizi seviyorum\u2026niye taac\u00fcb ediyorsun\u0131z\u2026sizi seviyorum dedi\u0121ime mi \u2026 \u1e57ek alya, ya ni\u00e7in\u2026 ha anlad\u0131m galiba hang\u0131m\u0131z\u0131 die sormak istiyorsun\u0131z deyilmi\u2026 eyi ya mademki bu derece merak i\u00e7inde kald\u0131n\u0131z o halde s\u00f6yleyim\u2026 sizi seviyorum. Fakat hepinizi birden seviyorum zan etmeyiniz ha yal\u0131n\u0131z birinizi\u2026 ismini mi<\/td>		\"\"<\/td><\/tr>
[3]
anlamak istiyorsun\u0131z\u2026do\u0121rus\u0131 on\u0131 bende bilmiyor\u0131m\u2026sadece seviyor\u0131m. Yahu bir insan sevdi\u0121i k\u0131z\u0131n ismini bilmez olurm\u0131 diyeceksiniz. Olurm\u0131\u015f efendim\u2026basbaya\u0121\u0131 olurm\u0131\u015f, bak\u0131n\u0131z sizlere \u015fu \u00e7ekingenli\u0121im y\u00fcz\u00fcnden d\u00fc\u015fd\u00fc\u0121\u00fcm bu a\u015fk r\u00fcyas\u0131n\u0131 anlatay\u0131m. ar\u1e33ada\u015flar\u0131mdan Ayvaz\u0131n y\u0131l d\u00f6n\u00fcm\u00fc m\u00fcnasibetile kendilerini tebrike gidecekdim\u2026 o g\u00fcn gayet muntazam, gayet \u015f\u0131k giyinmeye gayret ettim\u2026 ilk<\/td>		\"\"<\/td><\/tr>
[4] bahar oldu\u0121\u0131ndan g\u00f6ys\u00fcme birde yar bana  k\u00fcst\u00fcren g\u00fcnde g\u00fcl tak\u0131b yola d\u00fcz\u00fcld\u00fcm\u2026 baston\u0131m\u0131 sall\u0131ya sall\u0131ya giderken garib bir \u015fey nazar d\u0131kkat\u0131m\u0131 celb etti. d\u0131kkat ettim ben y\u00fcr\u00fcrken herkes d\u00f6n\u00fcb, d\u00f6n\u00fcb bana bak\u0131yordu\u2026 ni\u00e7in \u2026 bende anl\u0131yamad\u0131m \u2026 aceba g\u00fcl\u00fcmei bak\u0131yorlard\u0131\u2026\u1e57ek g\u00fczel amma g\u00fcl\u00fcmde g\u00fcl\u00fcnecek ne vard\u0131\u2026bas baya\u0121\u0131 g\u00fcl\u2026bildi\u0121imiz g\u00fcllerden\u2026eh ni\u00e7in bak\u0131b s\u0131r\u0131t\u0131yor-<\/td>\"\"<\/td><\/tr>
[5] lard\u0131… tamam L\u00fcksemburg k\u0131rahathanesi \u00f6n\u00fcne gelmi\u015ftim duvardaki aynaya \u015f\u00f6ylece bir bakd\u0131m\u2026ne g\u00f6rsem beyenirsiniz\u2026 meger bu \u1e33adar bak\u0131\u015flar\u0131, bu \u1e33adar g\u00fcl\u00fc\u015fleri yerinde imi\u015f\u2026ba\u015f\u0131ma kodu\u0121\u0131m \u015fa\u1e57kay\u0131 acele ile giydi\u0121imden ters komu\u015f\u0131m ve kordelas\u0131 arkada olacak yerde \u00f6ne gelmi\u015f beni tepeli horozlara benzetmi\u015f.. orada ne oldu\u0121\u0131m\u0131 bilemedim\u2026asr\u0131m\u0131z\u0131n k\u0131\u015flar\u0131 gibi renk renk oldum<\/td>\"\"<\/td><\/tr>
[6] ve heman \u0131s\u0131nm\u0131\u015f\u0131m gibi \u015fa\u1e57kam\u0131 \u00e7\u0131kard\u0131m\u2026  beni bu halimle g\u00f6renlerin daha fazla g\u00fclmelerine meydan vermemek i\u00e7in alel acele t\u0131ramvaya atl\u0131yacakd\u0131m\u2026fakat aksili\u0121e bak\u0131n\u0131z\u2026sanki \u015feytan o g\u00fcn beni koval\u0131yorm\u0131\u015f gibi birden vatman doku\u015f a\u00e7mas\u0131nm\u0131 demiri tutamad\u0131m\u2026 ve tutamay\u0131ncada keleg kavunlar\u0131 gibi yere serildim\u2026yere serildi\u0121im bir \u015fey deyil amma ya elimdeki \u00e7i\u00e7ek demeti\u2026ramazan \u1e57idesi gibi ezilib<\/td>\"\"<\/td><\/tr>
[7] yamyas\u0131 oldu..art\u0131k b\u00fcsb\u00fct\u00fcn hiddetlendim orada bulunan bir otomobile kendimi dar att\u0131m ve solu\u0121\u0131m\u0131 ayvaz\u0131n evinde ald\u0131m\u2026yahu nede ka\u1e57u \u00e7\u0131ng\u0131raklar\u0131 varm\u0131\u015f, sanki \u2018ayeyorgi\u2019 kilisesindeki \u00e7an \u00e7al\u0131n\u0131yorm\u0131\u015f gibi i\u1e57i bir \u00e7eki\u015fimle yalan s\u00f6ylemeyim zat\u0131 yalan s\u00f6ylemem a tabiyat\u0131m deyil.. ne az\u0131 yar\u0131m saat \u00e7ald\u0131m nihayet ka\u1e57u a\u00e7\u0131ld\u0131 ve beni g\u00fczel, \u015firin, nazik bir k\u0131z kar\u015f\u0131lad\u0131.. sonradan \u00f6yrendi\u0121ime g\u00f6re oda benim<\/td>\"\"<\/td><\/tr>
[8] gibi misafirmi\u015f.. aman allah\u0131m ne k\u0131z..ne k\u0131z..ben deim melek\u2026siz\u2026siz ne derseniz deyiniz \u00e7\u00fcnk\u00fc fazla met etmeniz i\u015fime gelmez\u2026korkar\u0131m elimden gider\u2026derken ayvaz beni kar\u015f\u0131lad\u0131 koltuklar\u0131ma girdi ve beni misafirlerin huzur\u0131na \u00e7\u0131kartarak onlara ta\u1e33dim etti\u2026\u201ca\u1e33t\u00f6r cebi delik zade ve aslan bey\u201d aman allah\u0131m bir g\u00fclmektir ald\u0131 herkes g\u00f6be\u0121ini dike dike g\u00fclmekten kat\u0131l\u0131yordu\u2026<\/td>\"\"<\/td><\/tr>
[9] neden yahu\u2026ni\u00e7in\u2026ne oldu ha anlad\u0131m galiba la\u0121ab\u0131m ho\u015flar\u0131na gitti\u2026gider a\u2026\u015fimdi art\u0131k oturm\u0131\u015f g\u00f6zlerimde bana ka\u1e57uy\u0131 a\u00e7an o f\u0131k\u0131rdak k\u0131zcaaz\u0131 ar\u0131yord\u0131m… ha buldum\u2026orada i\u015fde, i\u015fde aran\u0131zda oturm\u0131\u015f beni dinliyor aman allah\u0131m \u00e7\u0131ld\u0131raca\u0121\u0131m\u2026\u015fimdi on\u0131 aran\u0131zda g\u00f6rd\u00fcm a\u2026art\u0131k ba\u015f\u0131mdan ge\u00e7eni nakl edemiyece\u0121im\u2026aman aman vicud\u0131m zelzeleye tutulmu\u015f ah\u015fa\u1e57 evler gibi titriyor ayaklar\u0131m<\/td>\"\"<\/td><\/tr>
[10] kesiliyor\u2026nefesim kesiliyor galiba oldu\u0121\u0131m yerde bay\u0131l\u0131b kalaca\u0121\u0131m\u2026lakin cesaret\u2026yaln\u0131zken itiraf edemedi\u0121im \u015fu a\u015fk\u0131m\u0131 burada da itiraf edemezsem nerede s\u00f6yleyebilirim\u2026matmazel sizi seviyorum\u2026yahu hepiniz birden ne diye y\u00fcz\u00fcme bak\u0131yors\u0131n\u0131z\u2026yaln\u0131z on\u0131 seviyorum\u2026yaln\u0131z onu\u2026evet sizi seviyorum matmazel hem ebediyende sevece\u0121ime emin olabilirsiniz size bir mabude gibi \u1e57eresti\u015f ediyorum\u2026siz benim<\/td>\"\"<\/td><\/tr>
[11] ba\u015f tac\u0131ms\u0131n\u0131z\u2026can\u0131ms\u0131n\u0131z, ruhums\u0131n\u0131z, hayat\u0131ms\u0131n\u0131z\u2026sizi \u00e7\u0131lg\u0131nca seviyorum\u2026isbatm\u0131 istiyorsun\u0131z\u2026i\u015fte bu kadar ki\u015fi \u015fahidim olsunki sizi seviyorum\u2026hem canu g\u00f6n\u00fclden\u2026aman on\u0131n kim oldu\u0121\u0131n\u0131 muhakkak g\u00f6r\u00fcb anlamakm\u0131 istiyorsun\u0131z? i\u015fte bun\u0131 ya\u1e57am\u0131yaca\u0121\u0131m\u2026 \u00e7\u00fcnk\u00fc babas\u0131 yan\u0131nda\u2026bak\u0131n\u0131z, bak\u0131n\u0131z nas\u0131lda bana do\u0121ru bak\u0131yor\u2026ne g\u00fczel bak\u0131\u015f allah\u0131m\u2026\u015feytan\u0131 bile yakmaya muktedir<\/td>\"\"<\/td><\/tr>
[12] \u015fimdi matmazel size kar\u015f\u0131 kalbimde besledi\u0121im a\u015fk\u0131 bu kadar ki\u015finin huz\u0131r\u0131nda itiraf ettikten sonra, sizden bir tek recam vard\u0131r.. evet bir tek eger sizde beni seviyorsan\u0131z\u2026fakat ni\u00e7in sevmiyecekmi\u015fsiniz\u2026 benim neym eksik\u2026\u1e57aram yoksa on\u0131 da \u1e57ederiniz sayesinde kazanmaya gayret ederim\u2026evet eger beni seviyorsan\u0131z.. beni \u00fczmek ve daha fazla zay\u0131flatmak istemiyorsan\u0131z\u2026\u1e57iyesim i\u00e7in hitam\u0131nda sizi tramvay<\/td>\"\"<\/td><\/tr>
[13] taakuk maalinde sab\u0131rs\u0131zl\u0131kla bekliyorum ve burac\u0131kda itiraf etti\u0121im a\u015fk\u0131m\u0131 orada mini mini ellerinizi \u1e57uselerime gar\u1e33 ederek sizi sevdi\u0121imi s\u00f6ylemekten geri durmayaca\u0121\u0131m…\u00e7\u00fcnk\u00fc sizi hakikaten seviyorum\u2026
\u0563\u0580\u0565\u0581 (krets)<\/em> — h. Ayvaz
SON 13.8.[1]932<\/td>		\"\"<\/td><\/tr>
[14] = onunla belv\u00fcde =
– bir ka\u00e7  saat \u2013
muhterem han\u0131mlar ve bey efendiler.. d\u0131kkat ediniz onunla diyorum\u2026ni\u00e7in?\u2026y\u00fcre\u0121imi fazlas\u0131 ile yakd\u0131\u0121\u0131 i\u00e7in ismini bile anmak istemiyorum\u2026demekki a\u015fk\u0131n\u0131z sizi bu derecelere \u1e33adar getirmi\u015f ha diyeceksiniz\u2026hay\u0131r efendim anl\u0131yamad\u0131n\u0131z bari izah edeyim de merak<\/td>		\"\"<\/td><\/tr>
[15] dan kurtulmu\u015f olursun\u0131z. lakin evela burnuma g\u00fclmiyece\u0121inize ve bana enayi sende \u201cy\u00fcz\u00fcme kar\u015f\u0131 deyil tabi\u201d demiyece\u0121inize s\u00f6z vermenizi reca ederim. \u015fimdi ba\u015fl\u0131yorum ha d\u0131kkat ge\u00e7en cumaa g\u00fcn\u00fc sabahleyin erkenden kalkd\u0131m do\u0121ru berberime gidi\u1e57 sinek kayd\u0131 bir t\u0131ra\u015f oldum ve \u0131skar\u1e57inlerimi boyatmak maksad\u0131 ile<\/td>\"\"<\/td><\/tr>
[16] galata saraydaki boyac\u0131 d\u00fckkyan\u0131na do\u0121ru yola \u00e7\u0131kt\u0131m\u2026hey allah\u0131m bir kalabal\u0131kd\u0131r yollara ak\u0131n etmi\u015f, kad\u0131n, erkek, \u00e7oluk, \u00e7ocuk\u2026velhas\u0131l\u0131 boh\u00e7ay\u0131, se\u1e57eti, gramofonu yakal\u0131yan yola d\u00fcz\u00fclm\u00fc\u015f\u2026her halde bunlardan kimi kalam\u0131\u015fa, kimi adaya kimi kavaklara gidi\u1e57 cumaay\u0131 ho\u015f ge\u00e7irmek i\u00e7in birer karar vermi\u015flerdir\u2026derken \u1e57armak ka\u1e57uda bir kalabal\u0131kt\u0131r<\/td>\"\"<\/td><\/tr>
[17] g\u00f6z\u00fcme ili\u015fdi\u2026aman aceba otomobil kald\u0131r\u0131ma \u00e7\u0131k\u0131b birinimi ezdi\u2026\u201cmamafi bunada al\u0131\u015fd\u0131k a\u201d kald\u0131r\u0131ma \u00e7\u0131k\u0131\u015f\u0131 bir \u015fey deyil yar\u0131n o bir g\u00fcn otomobildeki m\u00fc\u015fterinin can\u0131 \u1e57asta ve yahut tavuk g\u00f6ys\u00fc yemek isterse otomobilden inmeye ne hacet\u2026haydi do\u0121ru i\u00e7eriye ne var aceba, ne olmu\u015f diyerek bende dimenimi o tarafa do\u0121ru \u00e7evirdim<\/td>\"\"<\/td><\/tr>
[18] oraya var\u0131nca \u00e7ok yanl\u0131\u015f zaa\u1e57lara d\u00fc\u015fd\u00fc\u0121\u00fcmi anlad\u0131m\u2026meger ihtiyar bir kad\u0131n\u0131n elindeki se\u1e57etin kolu ko\u1e57mu\u015f ve ko\u1e57unca da se\u1e57ettir ters d\u00f6n\u00fcb i\u00e7indekiler t\u00fcrl\u00fc olmu\u015f.. fasulyalar denizdeki k\u0131rm\u0131z\u0131 bal\u0131klar gibi kald\u0131r\u0131mda y\u00fcz\u00fcb duruyor .. ya \u015fu karn\u0131 yar\u0131\u0121a ne dersiniz .. hiddetinden \u00e7atl\u0131yan \u015fi\u015fman adamlar gibi karn\u0131ndaki<\/td>\"\"<\/td><\/tr>
[19] olan\u0131 d\u0131\u015far\u0131ya f\u0131rlatm\u0131\u015f .. herne hal ise \u00f6tekileride sayacak olursam korkar\u0131m mideniz bulanacak\u2026ben gine yoluma devam ederken \u00f6n\u00fcme kol kola vermi\u015f bir \u00e7ift d\u00fc\u015fmezlermi? .. bunlarda koltuklar\u0131na birer havlu ve birerde mayo oldu\u0121\u0131 halde y\u00fcr\u00fcyorlard\u0131 .. nereye .. onu tabii sizde anlad\u0131n\u0131z .. y\u00fcrekten bir ah \u00e7ekerek .. evet<\/td>\"\"<\/td><\/tr>
[20] niye saklay\u0131m .. kendi kendime bir ah \u00e7ekerek benimde b\u00f6yle \u00e7\u0131t\u0131r \u1e57\u0131t\u0131r bir b\u00fclb\u00fcl\u00fcm olsa \u00f6tt\u00fcrmezmiydim onu koluma tak\u0131\u1e57 gezdirmez miydim dedim.. derken kendimi boyac\u0131 d\u00fckkyan\u0131nda buldum. boyac\u0131 iskar\u1e57inlerimi boyamakla me\u015fgulken kar\u015f\u0131mda bo\u015f oturan boyac\u0131n\u0131n sandalyas\u0131na mini mini bir minno\u015f gelmezmi hey allah\u0131m sesimi nede \u00e7abuk i\u015fittin .. art\u0131k kendimden \u00e7\u0131km\u0131\u015f b\u00fct\u00fcn<\/td>\"\"<\/td><\/tr>
[21] nazarlar\u0131m\u0131 ondan ay\u0131rm\u0131yordum. melek .. melek .. hem can al\u0131c\u0131, kese bo\u015falt\u0131c\u0131 bir melek .. g\u00fczelmi g\u00fczel beyendim bu k\u0131z\u0131n nas\u0131l bir k\u0131z oldu\u0121\u0131n\u0131 anlamak isterseniz l\u00fctfen bir saniye beni dinleyiniz .. sa\u00e7lar\u0131ndan ba\u015fl\u0131yorum .. k\u0131v\u0131r k\u0131v\u0131r ve kesdane renginde bir kukla sa\u00e7\u0131 gibi, ya g\u00f6zleri zetin gibi simsiyah, burnun\u0131 hi\u00e7 sormay\u0131n bademmi badem .. a\u0121z\u0131 ise kumru a\u0121z\u0131,<\/td>\"\"<\/td><\/tr>
[22] g\u00f6y\u00fcsler yafadan mam\u00fcl ya o \u00e7orabs\u0131z ayaklar\u0131 mini mini ve tombul tombul .. bakd\u0131ka bakd\u0131m .. meger oda beni s\u00fcz\u00fcyormu\u015f, g\u00f6zlerimi yukar\u0131ya kald\u0131rd\u0131\u0121\u0131m zaman ikimizinde g\u00f6zleri \u015fim\u015fek gibi birbirine \u00e7ar\u1e57t\u0131 .. bakd\u0131 .. bak\u0131\u015fd\u0131k .. g\u00fcld\u00fc ..g\u00fcl\u00fc\u015fd\u00fck .. derken g\u00f6z\u00fcm\u00fc k\u0131r\u1e57t\u0131m, oda k\u0131r\u1e57t\u0131 ve ikimizde ahbab olarak boyac\u0131 d\u00fckkyan\u0131ndan \u00e7\u0131kt\u0131k<\/td>\"\"<\/td><\/tr>
[23] t\u00fcnele do\u0121ru y\u00fcr\u00fcrken adeta iki sevdazade olmu\u015f ve uzun zamanlar birbirini sevmi\u015f iki \u00e7ift gibi konu\u015fuyorduk ben evela ismini sordum \u201cs\u00f6yledi fakat ben s\u00f6ylemek istemiyorum \u00e7\u00fcnk\u00fc can\u0131m\u0131 \u00e7ok yakt\u0131\u201d oda benim ismimi sordu ve ben bila teredd\u00fcd cevab verdim .. \u1e57ambuk t\u00fcccar\u0131 zebiy\u00fcz bukrek zade m. hayri. ne ise uzatmayal\u0131m \u00f6yleden<\/td>\"\"<\/td><\/tr>
[24] sonra saat d\u00f6rt i\u00e7in bir randevu alarak ayr\u0131ld\u0131m .. \u015fimdi evde oturmu\u015f saat\u0131 ellerimin aras\u0131nda tutmu\u015f sab\u0131rs\u0131zlan\u0131yor .. dakikalar birer as\u0131r \u1e33adar uzun g\u00f6r\u00fcn\u00fcyordu .. nihayet saat \u00fc\u00e7\u00fc bulunca kalkd\u0131m m\u00fcmk\u00fcn oldu\u0121u kadar kendime \u00e7eki d\u00fczen verdim baston\u0131mla eldivenlerimi de al\u0131\u1e57 yola \u00e7\u0131kt\u0131m .. aman bebe\u0121im erkence gelib beni bile beklemi\u015f vah yavrum vah<\/td>\"\"<\/td><\/tr>
[25] i\u015fde buda beni sevdi\u0121ine bir delil deyilmi sanki\u2026 ne hal ise kolkola giri\u1e57 y\u00fcr\u00fcrken nereye gideceyiz diye sual etti, ben heman \u201ckedi ciyere at\u0131l\u0131r gibi\u201d cevab verdim, sinemaya, surat ek\u015fiterek, karanl\u0131ktan ho\u015flanmad\u0131\u0121\u0131n\u0131 ilave etti, ey \u1e57ek g\u00fczel nereye gidelim demeye kalmad\u0131 alaturka musikisini \u1e57ek beyendi\u0121ini ve dillerde destan olan<\/td>\"\"<\/td><\/tr>
[26] deniz k\u0131z\u0131 eftalia han\u0131m\u0131 dinlemek arzus\u0131nda bulund\u0131\u0121\u0131n\u0131 s\u00f6yledi .. yahu daha ilk bar\u0131\u015f ilk g\u00f6r\u00fc\u015f, b\u00f6yle mincozun hat\u0131r\u0131 k\u0131r\u0131l\u0131rm\u0131 hi\u00e7, yok olmaz denirmi .. bahusus yok olmaz deyince kendimide k\u00fc\u00e7\u00fcltm\u00fc\u015f olaca\u0121\u0131m ve k\u0131z beni z\u00fc\u0121\u00fcrt\u00fcn birini zann edecek .. hay hay, sevgilim nereyi arzu ediyorsan gidelim diyerek belv\u00fc ka\u1e57\u0131s\u0131ndan i\u00e7eriye dald\u0131k .. saat \u015f\u00f6yle b\u00f6yle alt\u0131y\u0131<\/td>\"\"<\/td><\/tr>
[27] bulmu\u015ft\u0131 .. aman allah\u0131m bu ne \u1e57ara yok diyenlerin kulaklar\u0131 \u00e7\u0131nlas\u0131n .. heman garsonun biri bizi kar\u015f\u0131lad\u0131 ve \u00e7ift oldu\u0121\u0131m\u0131z\u0131 g\u00f6r\u00fcnce \u015f\u00f6yle k\u00f6\u015feyimsi bir yere g\u00f6t\u00fcr\u00fc\u1e57 oturtt\u0131 .. listesini \u00e7\u0131kar\u0131\u1e57 masaya koydu .. yahu biraz soluk vermek yokmu .. hele yorgunl\u0131\u0121\u0131m\u0131z\u0131 alal\u0131m .. terimiz kurusun bu ne acele .. minno\u015fum listeyi eline al\u0131b okud\u0131ktan sonra benim ona ya\u1e57aca\u0121\u0131m\u0131<\/td>\"\"<\/td><\/tr>
[28] o bana ya\u1e57t\u0131 .. ne arzu edersin cicim? .. haydi s\u00f6ylede garsonu bekletmeyelim .. can\u0131m\u0131n i\u00e7i sen ne istersen s\u00f6yle ben raz\u0131y\u0131m \u201cdememeli idik ya\u201d dedik i\u015fte, garsonun gidi\u1e57 gelmesi bir oldu, masaya bir s\u00fcr\u00fc \u015feyler dizildi, o ne d\u00fcble biralar .. siyah havyar, rokfor \u1e57eyniri \u201ca\u0121z\u0131n\u0131z sulan\u0131yorsa haber verin\u201d \u00e7iroz salatas\u0131, s\u0131cak s\u0131cak b\u00f6rekler, bal\u0131k tavas\u0131,<\/td>\"\"<\/td><\/tr>
[29] ka\u015fer \u1e57eyniri, ve birde \u015f\u00f6yle te\u1e57eleme \u201c\u1e57ertavs\u0131zla \u00f6yle g\u00f6r\u00fcn\u00fcyor\u201d yumurta salatas\u0131 .. i\u00e7dik\u00e7e i\u00e7tik.. ve ben kendi \u1e57ay\u0131ma tabi masaya bakd\u0131kca yan\u0131mdakini g\u00f6rmiyecek kadar bulutlara kar\u0131\u015f\u0131yordum.. bir tarafdan i\u00e7kinin teesiri, minno\u015fumun cazibesi, diger taraftan eftalia han\u0131m\u0131n sesi ve cebdeki \u1e57aralar\u0131n suyu \u00e7ekmesi beni b\u00fcsb\u00fct\u00fcn<\/td>\"\"<\/td><\/tr>
[30] serho\u015f edi\u1e57 esrarke\u015fler gibi d\u00fc\u015f\u00fcnd\u00fcrmeye ba\u015flam\u0131\u015ft\u0131. gecenin ka\u00e7\u0131 olmu\u015ft\u0131 hat\u0131rlam\u0131yorum .. yan\u0131mdaki izrayil birden, durub durdu\u0121\u0131 yerde iyne sokmu\u015flar gibi aman diye hayk\u0131rd\u0131 .. ne var, ne oluyoruz demeye kalmad\u0131 aman kocam beni ar\u0131yor, bizi beraber g\u00f6rmesin alimallah \u00f6ld\u00fc\u0121\u00fcm\u00fcz g\u00fcndir ha ..  diyerek ka\u00e7mak i\u00e7in aya\u0121a kalkd\u0131, bende onu tahkib<\/td>\"\"<\/td><\/tr>
[31] edecektim fakat siz benimle beraber gelirseniz olmaz dedi daha eyi ben \u015fimdi di\u015far\u0131 \u00e7\u0131\u1e33ar sizi kar\u015f\u0131ki t\u0131ramvay istasiyonunda beklerim sonra sizde gelir beni orada bulursun\u0131z ve girece\u0121imiz yere serbest y\u00fcrekle, korkumuz olmadan gideriz diyerek tela\u015fl\u0131 ad\u0131mlarla yan\u0131mdan ayr\u0131l\u0131\u1e57 r\u00fczgyar gibi u\u00e7tu .. onun u\u00e7mas\u0131 bir \u015fey deyil cebdeki \u1e57aralar\u0131da beraberine<\/td>\"\"<\/td><\/tr>
[32] u\u00e7tu .. on dakika sonra garsonu yan\u0131ma \u00e7a\u0121\u0131r\u0131\u1e57 hesab\u0131 g\u00f6rmesini s\u00f6yledim. bir hesa\u1e57 tamam on \u00fc\u00e7 bu\u00e7uk lira .. eyi amma bizim yan\u0131m\u0131zda on lira varsa \u00fc\u00e7 bu\u00e7u\u0121\u0131 nereden bulaca\u0121\u0131z .. garsona on liray\u0131 veri\u1e57 tatl\u0131 tatl\u0131 konu\u015fu\u1e57 koluna girdim ve derdimizi anlatmak<\/td>\"\"<\/td><\/tr>
[33] i\u00e7in \u015f\u00f6yle tenha bir yere g\u00f6t\u00fcrerek kand\u0131rmak istedimsede kanmad\u0131, niyaz ettik olmad\u0131 ve nihayet kol saat\u0131m\u0131 rehin b\u0131rakarak yakam\u0131 kurtard\u0131m .. sonrada onu d\u015far\u0131da bulurum \u00fcm\u00fcd\u00fc ile alel acele ka\u1e57\u0131dan \u00e7\u0131kt\u0131\u0121\u0131m zaman ortadaki a\u0121a\u00e7lardan ve serseri kana\u1e57esinde uyuyan \u201cbenim gibi\u201d \u015fi\u015fman bir adamdan ba\u015fka bir \u015fey g\u00f6remedim … \u015fimdi size hey muhterem<\/td>\"\"<\/td><\/tr>
[34] dinleyicilerim tavsiye ederim g\u00fczel hava almak eftalia han\u0131m\u0131 dinlemek istiyorsan\u0131z belv\u00fcye ko\u015funuz ve dediklerimi siz kendinizde isbat edeceksiniz…
hele havas\u0131 o \u1e33adar kuvetli ki ceblerinize \u1e33adar sirayet ediyor.
\u0563\u0580\u0565\u0581<\/em> (krets<\/em>)\u2013 h. Ayvaz
Son
22\/8\/[1]932<\/td>		\"\"<\/td><\/tr>
<\/td>\"\"<\/td><\/tr><\/tbody><\/table><\/figure>\n","protected":false},"excerpt":{"rendered":"

Emre G\u00f6rkem Onur (University of Vienna) Hagop Ayvaz and His Archive Hagop Ayvaz (1911\u20132006) occupies a unique position in the cultural and theatrical history of Turkey. Known primarily as an actor, theatre critic, editor, playwright, and archivist, Ayvaz dedicated much of his life to documenting and preserving the theatrical landscape of the Late Ottoman Empire … Continue reading Hagop Ayvaz\u2019s Armeno-Turkish Monologue “Sizi Seviyorum” (1932): Archival Context and Transcription<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":13,"featured_media":0,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[63,15],"tags":[65,64,62,60],"coauthors":[],"class_list":["post-484","post","type-post","status-publish","format-standard","hentry","category-armenian-theater","category-armeno-turkish-literature","tag-hagop-ayvaz","tag-hrant-dink-foundation","tag-kulis","tag-sizi-seviyorum"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=\/wp\/v2\/posts\/484","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=484"}],"version-history":[{"count":27,"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=\/wp\/v2\/posts\/484\/revisions"}],"predecessor-version":[{"id":601,"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=\/wp\/v2\/posts\/484\/revisions\/601"}],"wp:attachment":[{"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=484"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=484"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=484"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/atlas.univie.ac.at\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=484"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}