[vc_row bg_check=”row-background-dark” dfd_bg_style=”image” dfd_bg_image_new=”1741″ dfd_bg_image_repeat=”no-repeat” dfd_image_bg_color=”rgba(167,162,169,0.71)” dfd_bg_image_position=”center” dfd_bg_image_size_mobile=”cover” dfd_overlay_color=”rgba(167,162,169,0.75)” dfd_overlay_pattern=”transperant” dfd_overlay_pattern_size=”1″ dfd_row_config=”full_width_content” dfd_row_parallax=”dfd-row-parallax” row_parallax_limit=”50″ css=”.vc_custom_1532858851902{margin-top: -20px !important;}”][vc_column column_bg_check=”column-background-dark”][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”300″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”250″ screen_tablet_spacer_size=”250″ screen_mobile_spacer_size=”250″][dfd_heading module_animation=”transition.slideLeftIn” enable_delimiter=”” title_google_fonts=”yes” title_custom_fonts=”font_family:Playfair%20Display%3Aregular%2Citalic%2C700%2C700italic%2C900%2C900italic|font_style:700%20bold%20italic%3A700%3Aitalic” mobile_alignment=”center” style=”style_06″ title_font_options=”tag:h1|font_size:50|color:%23f4f7f5|line_height:60|letter_spacing:2″ subtitle_font_options=”tag:h5″ heading_margin=”margin-bottom:0px;” title_responsive=”font_size_tablet:50|line_height_tablet:60|letter_spacing_tablet:2|font_size_mobile:40|line_height_mobile:55|letter_spacing_mobile:3″]Sahnelerin Adamı[/dfd_heading][dfd_button button_text=”PUTLARI YIKIYORUZ” tooltip_text=”Bölüm Başına Git” tooltip_alignment=”dfd-button-tooltip-bottom” buttom_link_src=”url:https%3A%2F%2Fwww.naziminhikayesi.com%2F%23putlari-yikiyoruz|||” module_animation=”transition.slideRightIn” text_color=”#f4f7f5″ hover_text_color=”#f4f7f5″ background=”rgba(222,30,89,0.01)” hover_background=”#08090a” tooltip_color=”#ffffff” tooltip_background=”#ff2400″ border=”border-style:none;|border-width:1px;border-radius:2px;|border-color:#f4f7f5;” hover_border=”border-style:none;|border-width:1px;border-radius:2px;|border-color:#de1e59;” title_custom_fonts=”font_family:Raleway%3A100%2C200%2C300%2Cregular%2C500%2C600%2C700%2C800%2C900|font_style:400%20regular%3A400%3Anormal” style=”style_6″ title_font_options=”font_size:14|letter_spacing:2″ padding_left=”20″ padding_right=”20″ title_google_fonts=”yes”][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”30″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”30″ screen_tablet_spacer_size=”20″ screen_mobile_spacer_size=”20″][/vc_column][/vc_row][vc_row anchor=”oku” dfd_row_responsive_enable=”dfd-row-responsive-enable” responsive_styles=”padding_left_tablet:20|padding_right_tablet:20|padding_left_mobile:20|padding_right_mobile:20″][vc_column width=”1/6″][/vc_column][vc_column width=”2/3″][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”100″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”70″ screen_tablet_spacer_size=”60″ screen_mobile_spacer_size=”60″][vc_column_text css_animation=”none”]

Nâzım Hikmet 30’lu yılların başında edebiyat ve dergiciliğin yanı sıra sahne sanatları alanında da çok etkindir. Bunda Muhsin Ertuğrul’la olan dostluğunun önemli bir payı vardır. Nâzım Hikmet o günleri şöyle anlatır:

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Yıllardan yirmi sekiz, yirmi dokuzdu sanırsam, İstanbul’da evimde hasta yatıyordum. Arkadaşlar tevkif edilmişti. İstanbul’da Polis Müdürlüğü’nde çıplak göğüsleri cıgara ateşiyle yakıldıktan, tabanlarının derisi sopayla soyulduktan, koltuk altlarına kaynar yumurta konduktan sonra yargılanmak için İzmir’e gönderilmişlerdi. Alabildiğine öfkeliydim, kederliydim, alabildiğine hastaydım ve meteliksizdim. Kapım açıldı, büyük Türk rejisörü Ertuğrul Muhsin girdi içeri. Modern Türk tiyatrosunun belli başlı kurucularından biri olan, Türk tiyatrosunda modern tiyatro disiplinini, hele Rus-Sovyet tiyatrosununkini gerçekleştiren Muhsin, Stanislavski’nin ve Meyerhold’un hayranlarındandı. Sovyetler Birliği’ne birkaç kere gelip gitmişti. Dostumdu. ‘Hazır piyesin var mı?’ dedi. ‘Var’ dedim. Oysa yoktu. ‘Bir haftaya kadar verirsen sahneye koyabilirim’ dedi. ‘Olur’ dedim. … Muhsin gittikten sonra, bir hafta içinde ne yazabilirim diye düşündüm. Aklıma polisin eline geçip yitirilmiş Kafatası piyesinin konusu geldi.

[/vc_column_text][vc_column_text css_animation=”slideInUp”]Kafatası Darülbedayi’de beş kez oynanır. Ardından Bir Ölü Evi, Unutulan Adam adlı oyunları Şehir Tiyatrosu’nda sahnelenir. Muhsin Ertuğrul’la dostluğu İpek Film’de çeşitli işlerde çalışması ile pekişir. Bu sırada Ahmet Halit Kitabevi 835 Satır‘ın ikinci basımını yapar. Semih Lütfü Sühulet Kütüphanesi Benerci Kendini Niçin Öldürdü? ile Kafatası‘nı yayımlar. Piraye, Piraye’nin annesi Nurhayat Hanım ve diğer aile fertleri ile birlikte Nâzım Hikmet, kardeşi Samiye ve onun kocası Seyda, Erenköy’de Ethem Efendi Caddesi’ndeki Mithat Paşa köşküne taşınırlar.[/vc_column_text][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”40″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”40″ screen_tablet_spacer_size=”30″ screen_mobile_spacer_size=”20″][/vc_column][vc_column width=”1/6″][/vc_column][/vc_row][vc_row force_equal_height_columns=”main_row” dfd_row_responsive_enable=”dfd-row-responsive-enable” responsive_styles=”padding_right_tablet:10″ css=”.vc_custom_1591610764810{padding-right: 3% !important;padding-left: 3% !important;}” mobile_destroy_equal_heights=”yes”][vc_column width=”1/2″ css=”.vc_custom_1531488044133{padding-right: 3% !important;padding-left: 3% !important;}”][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”40″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”40″ screen_tablet_spacer_size=”20″ screen_mobile_spacer_size=”20″][videoplayer module_animation=”transition.slideUpIn” video_thumb=”4925″ main_style=”style-1″ title=”Benerci Kendini Niçin Öldürdü? Gelenekte kırılma” subtitle=”Olcay Akyıldız” video_link=”https://youtu.be/0t90ofaWlDQ” title_font_options=”tag:h6|font_size:14|line_height:19.18|letter_spacing:0″ subtitle_font_options=”tag:h6″ icon_bg_color=”rgba(255,36,0,0.75)”][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”20″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”20″ screen_tablet_spacer_size=”20″ screen_mobile_spacer_size=”20″][dfd_info_box hover_animation=”hover-up-box” module_animation=”transition.slideLeftIn” read_more=”box” readmore_style=”read-more-05″ readmore_text=”Nâzım’ın Hikâyesi Videoları” opacity=”85″ icon=”dfd-icon-videocamera_3″ content_custom_fonts=”font_family:Raleway%3A100%2C200%2C300%2Cregular%2C500%2C600%2C700%2C800%2C900″ style=”style-01″ layout=”layout-06″ title=”Benerci Kendini Niçin Öldürdü? Gelenekte kırılma” subtitle=”Olcay Akyıldız” title_font_options=”tag:div|font_size:17|color:%23172121″ subtitle_font_options=”tag:div|font_size:15|color:%23224c70″ font_options=”tag:div|font_size:12|color:%23666666|line_height:18″ icon_color=”#ff2400″ line_color=”#ff2400″ icon_hover=”#224c70″ use_content_google_fonts=”yes” icon_size=”55″ link=”url:https%3A%2F%2Fwww.youtube.com%2Fplaylist%3Flist%3DPLXw_Hqn0EW49TOO00WDo9l9dXvS6wp3Tq|target:_blank” readmore_show=”yes”]Boğaziçi Üniversitesi Türk Dili ve Edebiyatı bölümü öğretim üyesi Olcay Akyıldız, 1932 yılında yayımlanan Benerci Kendini Niçin Öldürdü kitabının Nâzım Hikmet’in şiir anlayışındaki dönüşümü nasıl yansıttığını örneklerle anlatıyor.[/dfd_info_box][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”40″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”40″ screen_tablet_spacer_size=”30″ screen_mobile_spacer_size=”20″][/vc_column][vc_column width=”1/2″ dfd_column_responsive_enable=”dfd-column-responsive-enable” css=”.vc_custom_1531822176805{padding-right: 3% !important;}” responsive_styles=”padding_left_tablet:20|padding_left_mobile:20″][vc_column_text css_animation=”slideInUp”]

Nâzım Hikmet kendi şiiri hakkında belki uzun yazılar yazmamış, fakat şiirlerinin içinde şiir yazma yöntemine dair bir takım göndermeler yapmış bir şair.

[/vc_column_text][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”40″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”40″ screen_tablet_spacer_size=”30″ screen_mobile_spacer_size=”20″][/vc_column][/vc_row][vc_row anchor=”oku” dfd_row_responsive_enable=”dfd-row-responsive-enable” responsive_styles=”padding_left_tablet:20|padding_right_tablet:20|padding_left_mobile:20|padding_right_mobile:20″][vc_column width=”1/6″][/vc_column][vc_column width=”2/3″][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”40″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”40″ screen_tablet_spacer_size=”30″ screen_mobile_spacer_size=”20″][vc_column_text css_animation=”slideInUp”]Kendi adı ve Mümtaz Osman takma adıyla Muhsin Ertuğrul’un yönettiği “Cici Berber”, “Fena Yol”, “Karım Beni Aldatırsa”, “Naşit Dolandırıcı”, “Söz Bir Allah Bir”, “Aysel Bataklı Damın Kızı”, “Leblebici Horhor Ağa”, “Milyon Avcıları” filmlerinin senaryolarını yazar. “Düğün Gecesi” (1933) ve “Güneşe Doğru” (1937) filmlerinin ise hem senaryolarını kaleme alır ve hem de bu filmleri yönetir. Memet Fuat’ın aktardığına göre, “Nâzım gerek İpek Film’de, gerek Darülbedayi’de Muhsin Ertuğrul’un baş yardımcısı durumundadır. Mithat Paşa köşküne taşınmalarından sonra, “Bir Millet Uyanıyor” filminin iç dış bazı sahneleri burada çekilir.[/vc_column_text][/vc_column][vc_column width=”1/6″][/vc_column][/vc_row][vc_row dfd_row_responsive_enable=”dfd-row-responsive-enable” responsive_styles=”padding_left_tablet:20|padding_right_tablet:20|padding_left_mobile:20|padding_right_mobile:20″][vc_column width=”1/6″][/vc_column][vc_column width=”2/3″][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”60″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ screen_mobile_resolution=”480″ screen_normal_spacer_size=”60″ screen_tablet_spacer_size=”60″ screen_mobile_spacer_size=”60″][vc_single_image image=”2481″ img_size=”full” add_caption=”yes” alignment=”center” style=”vc_box_shadow_3d” css_animation=”slideInUp” image_opacity=”85″ onclick=”link_image”][dfd_spacer screen_wide_resolution=”1280″ screen_wide_spacer_size=”40″ screen_normal_resolution=”1024″ screen_tablet_resolution=”800″ 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