FEMINIST THEATER IN TURKEY: BOYALI KUŞ (THE PAINTED BIRD) AS A CASE SAMPLE.

The theater collectives address different topics and have unique ways of creating theater. They also have a role of "playing according to the field" approach that contrasts with traditional approaches like "theater for the people" and "theater for art." These characteristics challenge the old, established examples of theater and are commonly referred to as 'autonomous theater'. The subsidized or unsubsidized theaters usually perform in large, crowded halls for general theater audiences, also known as the audience of the masses. In contrast, these new avant-garde artistic collectives are restricted to performing in their own small venues for specific audiences. They evoke a struggle between the old and established on one hand, and the new and seeking to find a place for themselves on the other, on their stages. The new theater scene is emerging, in small venues with audiences ranging from 30-70 people. These theaters aim to present diverse narratives on topics such as "fringe, new political, LGBT, immigrant issues, disadvantaged groups". Despite being a semi-professional feminist theater group established in 2000, Theatre Boyalı Kuş does not describe itself as a direct "women's theater". Theatre Boyalı Kuş was founded by Jale Karabekir and Zeynep Kaçar, graduates of the Istanbul University Department of Theater Criticism and Dramaturgy. The company took serious steps towards institutionalization with the later addition of Burçak Karaboğa and Duygu Erdoğan. Contrary to what is claimed, Theatre Boyalı Kuş is not a structure that only houses women. It is a group that aims to change the perception of male dominance in theater, by also involving men in their performances but prioritizing female voices in the decision-making mechanisms. [ABSTRACT FROM AUTHOR]