Abstract


A Revenge in the Dead End of the Military Coup and Violence
Demolition of democracy after the military coups and the introduction of the guardianship give rise to an insecure environment that causes violations of human rights. Thus all military coups are similar to each other with used methods of torture, violence and oppression. Tuncer Cücenoğlu is one of the productive names of Turkish theater after 1970. One of his theater works Dead End (1980), reflects the disasters caused by military coups and questions the logic of resorting to violence as a means of preventing violence. This game, which has a sociological value because of imply September 12, focuses on the "Military Junta" in Greece in 1967. However, in fact, all the coups in the world and the oppression, violence and torture that these crises normalize have been the target of criticisms. The fiction of the play was shaped from the last period of the Military Junta, which seized power in Greece between 1967 and 1974. In the country, which was governed by military custody for seven years, the destruction caused by the coup was ultimately removed from a local political issue. The aim is to expose military coups as a general, widespread problem of political power and humanity. On the other hand, putting the crimes of humanity such as violence and torture as a solution through the direction of the desire for revenge is considered as a kind of dilemma and at this point the name chosen for the game gains a symbolic meaning.

Keywords
Turkish theater, September 12, Violence and torture, Tuncer Cucenoglu.