Structural Limits of the Tragic Individual on the Traditional Ottoman Stage

 This study investigates the lack of institutionalized tragedy in traditional Ottoman performing arts through its ontological, theological, and sociological underpinnings, challenging Eurocentric historiography that frames this absence as a mere historical lag. Grounded in Charles Taylor’s framework of the ‘Porous’ and ‘Buffered Self’ alongside Victor Turner’s ‘Social Drama’ model, the paper explores how traditional Ottoman stage archetypes inherently resisted the isolated individuality required by classical Greek tragedy. It further addresses the substitution of Aristotelian catharsis with the pedagogical mechanism of ibret (moral admonition), highlighting how Islamic theological tenets -particularly the doctrine of repentance (tawbah)- diverge from the notion of absolute tragic downfall. Additionally, the study posits that humor served as a vital social safety valve within the imperial framework, effectively mitigating latent conflicts. By softening societal tensions, humor allowed traditional performing arts to address sensitive issues while maintaining systemic stability. Finally, the emergence of the tragic protagonist during the Tanzimat period via key figures such as Şinasi and Namık Kemal is analyzed as an aesthetic turning point, examining the political anxieties it generated and the resulting historical consequences, including exile. Ultimate conclusions indicate that the dominance of humor on the Ottoman stage reflects a deliberate structural mechanism designed to maintain social cohesion and theological equilibrium, rather than an aesthetic shortcoming.