[agfo_tube video=”2p-rleK3oYE” mod=”standart”]<\/p>\n
Bazen bir \u015fehirden ayr\u0131lmak yaln\u0131zca mesafe katetmek de\u011fildir; insan sesini, hat\u0131ralar\u0131n\u0131 ve yar\u0131m kalm\u0131\u015f s\u00f6zlerini de geride b\u0131rak\u0131r. Bak\u0131dan G\u0259nc\u0259y\u0259<\/strong> adl\u0131 eserimi, tam da bu duygunun \u00e7evresinde kurdum. Bak\u00fc\u2019den Gence\u2019ye, Tiflis\u2019ten Kars\u2019a ve \u0130stanbul\u2019a uzanan yol, iki insan\u0131n kavu\u015fma arzusunu ta\u015f\u0131sa da asl\u0131nda giderek b\u00fcy\u00fcyen bir hasret haritas\u0131na d\u00f6n\u00fc\u015f\u00fcyor.<\/p>\n Eserin merkezinde G\u00fclbanu ile tarzen F\u0259rid bulunuyor. G\u00fclbanu, Bak\u00fc\u2019de ya\u015fayan bir petrol ailesinin k\u0131z\u0131d\u0131r. F\u0259rid ise sesi ve s\u00f6z\u00fc kadar tar\u0131yla da var olan bir m\u00fczisyendir. Birbirlerini bulduklar\u0131 d\u00fcnya, siyasi ve toplumsal sars\u0131nt\u0131larla par\u00e7alan\u0131nca ayn\u0131 hik\u00e2yenin iki ayr\u0131 yolcusu h\u00e2line gelirler.<\/p>\n Bu ki\u015filer ve ya\u015fad\u0131klar\u0131 a\u015fk kurmacad\u0131r. Bununla birlikte hik\u00e2yenin arka plan\u0131n\u0131, Bak\u00fc\u2019n\u00fcn 1918-1920 aras\u0131ndaki \u00e7alkant\u0131l\u0131 tarihinden ilhamla olu\u015fturdum. Mart Olaylar\u0131, Azerbaycan Halk Cumhuriyeti d\u00f6neminde Gence\u2019nin \u00fcstlendi\u011fi rol, Nisan 1920\u2019deki Sovyetle\u015fme ve ard\u0131ndan ya\u015fanan muhaceret, anlat\u0131n\u0131n tarihsel ufkunu belirliyor. Amac\u0131m bir tarih belgeseli kurmak de\u011fil; b\u00fcy\u00fck k\u0131r\u0131lmalar\u0131n s\u0131radan insanlar\u0131n hayat\u0131nda a\u00e7abilece\u011fi yaray\u0131 bir \u015fark\u0131n\u0131n diliyle d\u00fc\u015f\u00fcnmekti.<\/p>\n Hik\u00e2yede Bak\u00fc, yaln\u0131zca ba\u015flang\u0131\u00e7 noktas\u0131 de\u011fildir. Hazar, ay \u0131\u015f\u0131\u011f\u0131, kalabal\u0131k bir meclis ve dile gelen tar, G\u00fclbanu ile F\u0259rid\u2019in birbirini ilk kez fark etti\u011fi d\u00fcnyan\u0131n par\u00e7alar\u0131d\u0131r. Bu nedenle \u015fehir, hem a\u015fk\u0131n do\u011fdu\u011fu yer hem de kaybedilen hayat\u0131n simgesidir.<\/p>\n \u201cX\u0259z\u0259r bir piyal\u0259, Bu iki dizede Hazar\u2019\u0131 bir kadehe, ay\u0131 da onun \u00fczerinde y\u00fczen bir yans\u0131maya d\u00f6n\u00fc\u015ft\u00fcrd\u00fcm. Sahnenin romantik g\u00f6r\u00fcnmesine ra\u011fmen alt\u0131nda bir ge\u00e7icilik duygusu var. Su \u00fczerindeki ay nas\u0131l tutulamazsa bu kar\u015f\u0131la\u015fman\u0131n yaratt\u0131\u011f\u0131 mutluluk da uzun s\u00fcre korunamaz.<\/p>\n Gence, anlat\u0131da sevginin s\u00f6zle ve yeminle peki\u015fti\u011fi yerdir. Nar \u00e7i\u00e7ekleriyle kurulan bahar g\u00f6r\u00fcnt\u00fcs\u00fc, yakla\u015fan felaketin kar\u015f\u0131s\u0131nda \u00f6zellikle k\u0131r\u0131lgan durur. Ard\u0131ndan y\u00f6n de\u011fi\u015ftiren r\u00fczg\u00e2r, G\u00fclbanu\u2019yu ta\u015f\u0131yan gemi ve geride kalan \u00e7\u0131ra\u011f\u0131n \u0131\u015f\u0131\u011f\u0131 gelir.<\/p>\n F\u0259rid\u2019in yolu ise Gence\u2019den Tiflis\u2019e, oradan Kars\u2019a ve sonunda \u0130stanbul\u2019a uzan\u0131r. Buradaki \u015fehir adlar\u0131n\u0131 basit duraklar olarak de\u011fil, ayr\u0131l\u0131\u011f\u0131n farkl\u0131 y\u00fczleri olarak d\u00fc\u015f\u00fcnd\u00fcm. Her s\u0131n\u0131r ge\u00e7i\u015finde memleket biraz daha uzakla\u015f\u0131r; G\u00fclbanu\u2019ya ula\u015fma umudu ise hem g\u00fc\u00e7lenir hem de belirsizle\u015fir. B\u00f6ylece co\u011frafi hareket, i\u00e7 d\u00fcnyadaki s\u0131k\u0131\u015fm\u0131\u015fl\u0131kla kar\u015f\u0131 kar\u015f\u0131ya gelir.<\/p>\n \u015eark\u0131n\u0131n ana d\u00fc\u015f\u00fcncelerinden biri \u015fu s\u00f6zlerde belirginle\u015fiyor:<\/p>\n \u201cH\u0259r \u015f\u0259h\u0259r bir hicran, Yol uzad\u0131k\u00e7a \u015fehirler yeni bir ba\u015flang\u0131\u00e7 sunmak yerine ayn\u0131 ayr\u0131l\u0131\u011f\u0131n ba\u015fka bir sahnesine d\u00f6n\u00fc\u015f\u00fcr. F\u0259rid i\u00e7in Kars\u2019\u0131n k\u0131\u015f gecesi de \u0130stanbul\u2019un ak\u015fam\u0131 da G\u00fclbanu\u2019nun yoklu\u011fuyla anlam kazan\u0131r.<\/p>\n Bu hik\u00e2yede tar\u0131 yaln\u0131zca e\u015flik \u00e7alg\u0131s\u0131 olarak g\u00f6rm\u00fcyorum. Tar, F\u0259rid\u2019in konu\u015famad\u0131\u011f\u0131 yerde konu\u015fan; kaybetti\u011fi sese ula\u015famad\u0131\u011f\u0131nda onu yeniden \u00e7a\u011f\u0131ran bir anlat\u0131c\u0131d\u0131r. Tellerden \u00e7\u0131kan her ses, sevgilinin hat\u0131ras\u0131 ile memleket \u00f6zlemini birbirine ba\u011flar.<\/p>\n Ba\u015flang\u0131\u00e7ta iki insan\u0131 tan\u0131\u015ft\u0131ran tar, ilerleyen b\u00f6l\u00fcmlerde ayr\u0131l\u0131\u011f\u0131n tan\u0131\u011f\u0131 olur. Sonlara do\u011fru susmas\u0131 ise s\u0131radan bir sessizlik de\u011fildir. S\u00f6z\u00fcn, ezginin ve \u00fcmidin ayn\u0131 anda kesildi\u011fi bir e\u015fi\u011fi temsil eder. Buna ra\u011fmen G\u00fclbanu\u2019nun ad\u0131 yank\u0131lanmay\u0131 s\u00fcrd\u00fcr\u00fcr. \u0130nsan d\u00f6nemese bile sesin d\u00f6nebilece\u011fi d\u00fc\u015f\u00fcncesi, eserin duygusal omurgas\u0131n\u0131 olu\u015fturur.<\/p>\n Bak\u0131dan G\u0259nc\u0259y\u0259<\/strong>, 3\/8 usul\u00fcnde ve Nihavend makam\u0131nda yaz\u0131lm\u0131\u015f bir tesniftir. Nihavendin i\u00e7li fakat b\u00fct\u00fcn\u00fcyle karanl\u0131\u011fa kapanmayan karakteri, anlatmak istedi\u011fim duyguya uygun bir alan a\u00e7t\u0131. Eserde yaln\u0131zca yas de\u011fil; hat\u0131rlama, arama ve \u00e7ok uzakta da olsa sesini ula\u015ft\u0131rma arzusu da bulunuyor.<\/p>\n 3\/8\u2019lik hareket ise hik\u00e2yedeki yolculuk hissini destekliyor. K\u0131sa ve d\u00f6ng\u00fcsel vuru\u015flar, bir yandan ilerleyen ad\u0131mlar\u0131 ve de\u011fi\u015fen \u015fehirleri \u00e7a\u011fr\u0131\u015ft\u0131r\u0131rken di\u011fer yandan insan\u0131n ayn\u0131 hat\u0131raya tekrar tekrar d\u00f6nmesini m\u00fcmk\u00fcn k\u0131l\u0131yor. B\u00f6ylece m\u00fczik ilerliyor, fakat anlat\u0131c\u0131n\u0131n kalbi ge\u00e7mi\u015fte kal\u0131yor.<\/p>\n Eserin ses d\u00fcnyas\u0131n\u0131 tar, kaman\u00e7a ve balaban \u00e7evresinde tasarlad\u0131m. Tar, anlat\u0131n\u0131n merkezindeki ki\u015fisel sesi ta\u015f\u0131rken kaman\u00e7a daha keskin ve i\u00e7e i\u015fleyen bir duygu \u00e7izgisi olu\u015fturuyor. Balaban ise nefesli yap\u0131s\u0131yla uzakl\u0131k, bozk\u0131r ve yol hissini kuvvetlendiriyor. Bu \u00e7alg\u0131lar\u0131n birlikteli\u011fi, hik\u00e2yenin Kafkasya\u2019dan Anadolu\u2019ya uzanan co\u011frafi atmosferiyle ba\u011f kuruyor.<\/p>\n S\u00f6z ve m\u00fczik bana ait. Orkestrasyon ve d\u00fczenleme a\u015famas\u0131nda Suno AI<\/strong> kulland\u0131m. Yapay zek\u00e2y\u0131 hik\u00e2yenin veya bestecilik kararlar\u0131n\u0131n yerine ge\u00e7en bir unsur olarak de\u011fil, tasarlad\u0131\u011f\u0131m m\u00fczikal atmosferin i\u015flenmesine yard\u0131mc\u0131 olan bir \u00fcretim arac\u0131 \u015feklinde de\u011ferlendirdim.<\/p>\n \u015eark\u0131 boyunca tekrar eden \u0131\u015f\u0131k, \u00e7i\u00e7ek, deniz ve ses imgeleri ayn\u0131 sorunun \u00e7evresinde dola\u015f\u0131yor: Bir insandan geriye ne kal\u0131r? G\u00fclbanu uzakla\u015f\u0131rken k\u0131y\u0131da kalan ses, F\u0259rid\u2019in elinde ezgiye d\u00f6n\u00fc\u015f\u00fcyor. Nar \u00e7i\u00e7e\u011fi k\u0131sa mutlulu\u011fu, gemi geri d\u00f6n\u00fclmez ayr\u0131l\u0131\u011f\u0131, \u00e7\u0131ra\u011f\u0131n \u0131\u015f\u0131\u011f\u0131 ise direnme g\u00fcc\u00fcn\u00fc temsil ediyor.<\/p>\n Benim i\u00e7in bu anlat\u0131n\u0131n en \u00f6nemli taraf\u0131, kavu\u015fman\u0131n ger\u00e7ekle\u015fip ger\u00e7ekle\u015fmemesinden \u00e7ok hat\u0131ran\u0131n nas\u0131l ta\u015f\u0131nd\u0131\u011f\u0131d\u0131r. F\u0259rid memleketine d\u00f6nemese ve bekledi\u011fi hayata ula\u015famasa bile G\u00fclbanu\u2019nun ad\u0131 \u015fehirler aras\u0131nda dola\u015fmay\u0131 s\u00fcrd\u00fcr\u00fcr. Bu nedenle eser, bir a\u015fk hik\u00e2yesi oldu\u011fu kadar s\u00fcrg\u00fcn, muhaceret ve aidiyet \u00fczerine de d\u00fc\u015f\u00fcn\u00fcr.<\/p>\n Bak\u0131dan G\u0259nc\u0259y\u0259<\/strong>, tarihsel bir d\u00f6nemin g\u00f6lgesinde kalan iki kurmaca insan\u0131n hik\u00e2yesini anlat\u0131rken ayr\u0131l\u0131\u011f\u0131n co\u011frafyay\u0131 nas\u0131l de\u011fi\u015ftirdi\u011fine bak\u0131yor. Yol bitse bile baz\u0131 seslerin yolculu\u011fu s\u00fcrer. Eserin m\u00fczikal atmosferine ve G\u00fclbanu ile F\u0259rid\u2019in d\u00fcnyas\u0131na e\u015flik etmek isterseniz ba\u011flant\u0131daki videoyu izleyebilirsiniz.<\/p>\n","protected":false},"excerpt":{"rendered":" Bak\u0131dan G\u0259nc\u0259y\u0259, 1920\u2019lerin tarihsel k\u0131r\u0131lmalar\u0131ndan ilham alan kurmaca bir ayr\u0131l\u0131k hik\u00e2yesini Nihavend makam\u0131 ve Kafkas \u00e7alg\u0131lar\u0131yla bulu\u015fturuyor.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[42,43,8,44,45,10,46,47],"class_list":["post-65","post","type-post","status-publish","format-standard","hentry","category-muzik","tag-azerbaycan-muzigi","tag-bakidan-gncy","tag-cemal-gurkan-kara","tag-kafkasya-tarihi","tag-muhaceret","tag-nihavend","tag-tar-muzigi","tag-tesnif"],"_links":{"self":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/posts\/65","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=65"}],"version-history":[{"count":0,"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/posts\/65\/revisions"}],"wp:attachment":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=65"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=65"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=65"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Tarih ile kurgu aras\u0131ndaki hik\u00e2ye<\/h2>\n
Bak\u00fc\u2019den ba\u015flayan ayr\u0131l\u0131k<\/h2>\n
\nAy \u00fcz\u00fcr \u015f\u0259rabda\u2026\u201d<\/em><\/p><\/blockquote>\nGence ba\u011flar\u0131ndan muhaceret yoluna<\/h2>\n
\nD\u00f6n\u00fcr q\u0259m m\u0259clis\u0259.\u201d<\/em><\/p><\/blockquote>\nBir karakter olarak tar<\/h2>\n
Nihavend makam\u0131 ve 3\/8 usul\u00fc<\/h2>\n
Tar, kaman\u00e7a ve balaban\u0131n kurdu\u011fu d\u00fcnya<\/h2>\n
G\u00fclbanu\u2019nun \u0131\u015f\u0131\u011f\u0131<\/h2>\n
Sesin ula\u015ft\u0131\u011f\u0131 son k\u0131y\u0131<\/h2>\n