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Abdülcanbaz, which is started to be published in Milliyet in the fifties and the prominent comic book of Turhan Selçuk who is one of the masters of the art of comics in Turkey, moved to the theatre stage as well in the seventies. Abdülcanbaz, which was created as a result of a collective work with the contributions of Genco Erkal, Mehmet Akan and Macit Koper from the dramaturgy committee of Dostlar Theatre, and journalist-writer Engin Ardıç, who joined them externally, meets the audience for the first time in the theatre season of 1972-73. This adaptation, based on the various adventures of comic book hero Abdülcanbaz, is the product of the ideal of reaching a wide audience with its entertaining side and making this audience think while making them laugh and actually pulling them in a serious discussion setting. It is seen that in the play to make this ideal come true, the alienation effect of Brecht aesthetics, which is also somewhat similar to the anti-illusionist features of traditional Turkish theatre is based. This study aims to reveal and evaluate various alienation effects, which are used in order to move away from identification and illusion, thus, reach a rational, conscious and productive audience who have an active role in the discussion in which they are invited, to the extent permitted by the text.

Dostlar Theatre, Abdülcanbaz, alienation effect, Epic Theatre.

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