Pioneering Turkish Muslim Actresses: Afife Jale and Bedia Muvahhit's Trajectories in the Turkish Stage

Abstract

Emanating beyond the confines of academia, the poignant narrative of the renowned Turkish thespian Afife Jale has garnered widespread recognition within Türkiye. Amid a pantheon of successors, her tale stands as the most profoundly heartrending. It has been immortalized through theatrical productions and cinematic adaptations. Despite the widespread familiarity with her story, the enigmatic underpinnings of her tragedy have perpetually shrouded it in mystery. In an effort to cast light upon the chronicle of her life, a convergence of political and societal truths has emerged. Afife Jale's story, in its very essence, embodies the ideals expounded by Joan W. Scott. The realm of feminist historiography endeavors to bring prominence to women's narratives, elucidating their endeavors to champion their entitlements and autonomy within historical contexts. It seeks to delve into the causalities behind the historical obscurity that has veiled women's contributions, while also revealing the obstructions that have curtailed their authority and efficacy. This article aspires to achieve this objective by scrutinizing the careers of the first Turkish Muslim actresses, Afife Jale (1902–41) and Bedia Muvahhit (1896–1994), who commenced their artistic journeys at the onset of the twentieth century. Whereas Afife Jale's stage debut in 1920 coincided with the twilight of Ottoman rule, Bedia Muvahhit made her inaugural appearance in 1923, the very year that saw the founding of the Turkish Republic. Despite this seemingly minor difference, the professional journeys of these two actresses were characterized by stark disparities. Afife Jale bore the weight of authoritarian oppression and persecution, and her legacy remained largely overlooked, even after the Turkish Republic was founded. In contrast, Bedia Muvahhit thrived under the patronage and backing of the political elite, leading to a lengthy and prosperous career.