The stage: a space for queer subjectification in contemporary Turkey

This article focuses on the role of the stage in complex modes of gender performativity in the work of three Turkish performers: Zeki Müren (1931–1996), Bülent Ersoy (b. 1952), and Seyfi Dursuno?lu (b. 1932) a.k.a. Huysuz Virjin Cranky Virgin]. These three, I suggest, are the pioneers of contemporary Turkish queer performance. Their performances – both on- and off-stage – are validated through a reiterative absence of queerness in their everyday lives and stand in the midst of various negotiations between queers and the secular Islamic nation-state in Turkey. In the works of Müren, Ersoy, and Huysuz, the stage is suggestive of a space where queerness can be managed. It is a contested space that does at least allow for the communication of queer ideas to a wider audience. I discuss the works of these three performers as three variations of queerness in Turkey in relation to different eras and different political climates that are directly related to the nation-state's desire to perform modernity. While explicating complicated modes of gender performativity, I consider the stage as the primary space for a queer body to exist. Through this discussion, I aim to activate debates both within and against the context of secular Islam, on gendered political space, and on those overlooked sexualized spaces in which the nation-state produces powerful yet unstable values to manage queer subjectivity in contemporary Turkey.