MANUSCRIPT ORGANIZATION AND FORMAT

1. Manuscripts should be prepared using the Article Template. Due to double blind peer review, manuscript file must not include any information about the author.  

2. All correspondence will be sent to the first-named author unless otherwise specified.

3. Manuscpript is to be submitted online via https://dergipark.org.tr/tr/pub/teddergi 

4. The submmitted manuscript must be accompanied by a title page including detailed information about the article and a cover letter (optional). Manuscripts should be prepared in Microsoft Word 2003 and upper versions. In addition, Copyright Agreement Form that has to be signed by all authors must be submitted. (see the Submission Checklist).

5. The abstracts (in the language of article and in English) must be of 100-150 words each.

6. Five keywords (5 in the language of article and 5 in English) must be given underneath the abstracts.

7. Extended abstract of 600-700 words is required for the manuscripts in Turkish and German.

8. Quotations in the manuscript must be italicised and the citations in text must be indicated as footnote in 10 points.

9. The text of the main document must be in Times New Roman font and in 12 points.

10. Line spacing in the manuscript must be 1.5.

11. The paragraphs must be indented 1.5.

12. The title must be written with capital letters (14 points, bold).

13. A title page including author information must be submitted together with the manuscript. The title page is to include fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address, phone, fax number of the author(s) and ORCIDs of all authors (see The Submission Checklist).

Reference Style and Format

Journal of Theatre Criticism and Dramaturgy uses “Chicago Manual of Style (CMOS)” as reference style. Please use this link for more details:

https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html
Accuracy of citation is the author’s responsibility. All references should be cited in text.
References should be cited as bellow.
Examples:
FN: First note, SN: Subsequent note, B: Bibliography

Book

FN Kerem Karaboğa, Oyunculuk Sanatında Yöntem ve Paradoks (İstanbul: Habitus Kitap, 2012), 73.
SN Karaboğa, Oyunculuk Sanatında Yöntem ve Paradoks, 44.
B Karaboğa, Kerem. Oyunculuk Sanatında Yöntem ve Paradoks. İstanbul: Habitus Kitap, 2012.

FN Toby Cole and Helen Krich Chinoy, Directors on Directing: A Source Book of the Modern Theatre (Chicago: Echo Point Books and Media, 2013), 37.
SN Cole and Chinoy, Directors on Directing, 65.
B Cole, Toby, and Helen Krich Chinoy. Directors on Directing: A Source Book of the Modern Theatre. Chicago: Echo Point Books and Media, 2013.

Chapter or Other Part of an Edited Book
In a first note, cite specific pages. In the bibliography, include the page range for the chapter or part.
FN Oğuz Arıcı, “Poetika’da Zaman ve Mekan Düşüncesi,” in Tiyatroda Zaman/Mekan, ed. Kerem Karaboğa (İstanbul: Habitus Kitap, 2018), 20.
SN Arıcı, “Poetika’da Zaman ve Mekan Düşüncesi,” 24.
B Arıcı, Oğuz. “Poetika’da Zaman ve Mekan Düşüncesi.” In Tiyatroda Zaman/Mekan, edited by Kerem Karaboğa, 11-34. İstanbul: Habitus Kitap, 2018.

FN Erika Fisher-Lichte, “Some Critical Remarks on Theatre Historiography,” in Writing and Rewriting National Theatre Histories, ed. S. E. Wilmer (Iowa City: University of Iowa Press, 2004), 2.
SN Lichte, “Some Critical Remarks on Thetre Historiography,” 8.
B Fisher-Lichte, Erika. “Some Critical Remarks on Theatre Historiography.” In Writing and Rewriting National Theatre Histories, edited by S. E. Wilmer, 1-16. Iowa City: University of Iowa Press, 2004.

In some cases, you may want to cite the collection as a whole instead.
FN S. E. Wilmer, ed., Writing and Rewriting National Theatre Histories (Iowa City: University of Iowa Press, 2004), 64.
SN Wilmer, Theatre Histories, 67.
B Wilmer, S. E., ed. Writing and Rewriting National Theatre Histories. Iowa City: University of Iowa Press, 2004.

Translated Book
FN Joachim Latacz, Antik Yunan Tragedyaları, trans. Yılmaz Onay (İstanbul: Mitos Boyut Yayınları, 2012), 24.
SN Latacz, Antik Yunan Tragedyaları, 32.
B Latacz, Joachim. Antik Yunan Tragedyaları. Translated by Yılmaz Onay. İstanbul: Mitos Boyut Yayınları, 2012.

FN Erika Fischer-Lichte, History of European Drama and Theatre, trans. Jo Riley, (Londra: Routledge, 2002), 231.
SN Fisher-Lichte, History of European Drama and Theatre, 230.
B Fischer-Lichte, Erika. History of European Drama and Theatre. Translated by Jo Riley. Londra: Routledge, 2002.

E-Book
FN Sevda Şener, Oyundan Düşünceye (Ankara: Hiperlink, 1993), 9, https://search.ebscohost.com/login.aspx?direct=true&db=e011xww&AN=602937&lang=tr&site=ehost-live.
SN Şener, Oyundan Düşünceye, 11.
B Şener, Sevda. Oyundan Düşünceye. Ankara: Hiperlink, 1993. https://search.ebscohost.com/login.aspx?direct=true&db=e011xww&AN=602937&lang=tr&site=ehost-live.

FN Susan Bennett, Theatre Audiences: Edition 2 (Londra: Routledge, 2013), 28, https://play.google.com/store/books/details/Susan_Bennett_Theatre_Audiences?id=btTcAAAAQBAJ&gl=TR.
SN Bennett, Theatre Audiences: Edition 2, 30.
B Bennett, Susan. Theatre Audiences: Edition 2. Londra: Routledge, 2013. https://play.google.com/store/books/details/Susan_Bennett_Theatre_Audiences?id=btTcAAAAQBAJ&gl=TR.
For books consulted online, cite the URL or the name of the database. If no page numbers are available, cite a section, loc number (kindle) or chapter title.

Journal Article
FN Nilgün Firidinoğlu, “Faruk Nafiz Çamlıbel'in ‘Kahraman Destanı’ ve Yazınsal Metnin Üretim Sürecinde İdeolojik Zorunluluğun Rolü,” Tiyatro Eleştirmenliği ve Dramaturji Bölüm Dergisi 17, (December 2010): 87.
SN Firidinoğlu, “Faruk Nafiz Çamlıbel'in ‘Kahraman Destanı’ ve Yazınsal Metnin Üretim Sürecinde İdeolojik Zorunluluğun Rolü,’’ 89-90.
B Firidinoğlu, Nilgün. “Faruk Nafiz Çamlıbel'in ‘Kahraman Destanı’ ve Yazınsal Metnin Üretim Sürecinde İdeolojik Zorunluluğun Rolü.” Tiyatro Eleştirmenliği ve Dramaturji Bölüm Dergisi 17, (December 2010): 85-97.

FN Idowu James Adekunle, “Stand-up Comedy as Contemporary Live Theatre,” Journal of Humanistic & Social Studies 11, no. 2 (2020): 10.
SN Adekunle, “Stand-up Comedy as Contemporary Live Theatre,” 12.
B Adekunle, Idowu James. “Stand-up Comedy as Contemporary Live Theatre.” Journal of Humanistic & Social Studies 11, no. 2 (2020): 9-18.
Journal articles often list many authors, especially in the sciences. If there are four or more authors, list up to ten in the bibliography; in a note, list only the first, followed by et al. (“and others”). For more than ten authors (not shown here), list the first seven in the bibliography, followed by et al.

İR Rachel A. Bay et al., “Predicting Responses to Contemporary Environmental Change Using Evolutionary Response Architectures,” American Naturalist 189, no. 5 (May 2017): 465, https://doi.org/10.1086/691233.
SR Bay et al., “Predicting Responses,” 466.
K Bay, Rachael A., Noah Rose, Rowan Barrett, Louis Bernatchez, Cameron K. Ghalambor, Jesse R. Lasky, Rachel B. Brem, Stephen R. Palumbi, ve Peter Ralph. “Predicting Responses to Contemporary Environmental Change Using Evolutionary Response Architectures.” American Naturalist 189, no. 5 (May 2017): 463–73. https://doi.org/10.1086/691233.

News or Magazine Article
Articles from newspapers or news sites, magazines, blogs, and the like are cited similarly. Page numbers, if any, can be cited in a note but are omitted from a bibliography entry. If you consulted the article online, include a URL or the name of the database.
FN Takiyettin Mengüşoğlu, “Eğitimde Tarihi Çevre ve İnsan,” Cumhuriyet, December 14, 1971, 2.
SN Mengüşoğlu, “Eğitimde Tarihi Çevre ve İnsan,” 2.
B Mengüşoğlu, Takiyettin. “Eğitimde Tarihi Çevre ve İnsan.” Cumhuriyet, December 14, 1971.
FN Micheal Paulson, “The Boss Is Back on Broadway. The Workers Are Coming Back, Too,” New York Times, July 29, 2021, https://www.nytimes.com/2021/06/29/theater/bruce-springsteen-broadway-usher.html.
SN Paulson, “The Boss.”
B Paulson, Micheal. “The Boss Is Back on Broadway. The Workers Are Coming Back, Too.” New York Times, July 29, 2021. https://www.nytimes.com/2021/06/29/theater/bruce-springsteen-broadway-usher.html.

Book Review
FN Emre Yalçın, “Kurmacanın İnşası,” review of Kurmacanın İnşası, by Oğuz Arıcı, Yedi, April 9, 2021.
SN Yalçın, “Kurmacanın İnşası.”
B Yalçın, Emre. “Kurmacanın İnşası.” Review of Kurmacanın İnşası, by Oğuz Arıcı, Yedi, April 9, 2021.

FN Sarah Gorman, “Book Reviews: Double Take,” review of The Feminist Spectator as Critic: Second Edition, by Jill Dolan, Theatre Research International, June, 2019.
SN Gorman, “Book Reviews: Double Take.”
B Gorman, Sarah. “Book Reviews: Double Take.” Review of The Feminist Spectator as Critic: Second Edition, by Jill Dolan. Theatre Research International, June, 2019.

Interview
FN Peter Brook, “Peter Brook: 'To give way to despair is the ultimate cop-out',” interview by Michael Billington, The Guardian, October 2, 2017, https://www.theguardian.com/stage/2017/oct/02/peter-brook-tip-of-the-tongue-the-prisoner-battlefield-olivier-gielgud.
SN Brook, interview.
B Brook, Peter. “Peter Brook: 'To give way to despair is the ultimate cop-out'.” Interview by Michael Billington. The Guardian, October 2, 2017. https://www.theguardian.com/stage/2017/oct/02/peter-brook-tip-of-the-tongue-the-prisoner-battlefield-olivier-gielgud.

FN Genco Erkal, “Genco Erkal: Tiyatro başımın tacı,” interview by Ece Saruhan, Habertürk, March 27, 2018, https://hbr.tk/gbr6xb.
SN Erkal, interview.
B Erkal, Genco. “Genco Erkal: Tiyatro başımın tacı.” Interview by Ece Saruhan. Habertürk, March 27, 2018. https://hbr.tk/gbr6xb.

Thesis or Dissertation
FN Yavuz Pekman, “Çağdaş Türk Tiyatrosunda Geleneksellik” (PhD diss., İstanbul Üniversitesi, 2001), 28.
SN Pekman, “Çağdaş Türk Tiyatrosunda Geleneksellik,” 76.
B Pekman, Yavuz. “Çağdaş Türk Tiyatrosunda Geleneksellik.” PhD diss., İstanbul Üniversitesi, 2001.

FN Ryan Pearson, “Making Theatre for Everybody: How Do We Create Racial and Ethnic Diversity in Theatre Through Student-Run Theater Organizations?” (Master's thesis, University of California, 2016), 32.
SN Pearson, “Making Theatre for Everybody,” 32.
B Pearson, Ryan. “Making Theatre for Everybody: How Do We Create Racial and Ethnic Diversity in Theatre Through Student-Run Theater Organizations?.” Master's thesis, University of California, 2016.

Website Content
It is often sufficient simply to describe web pages and other website content in the text (“As of May 1, 2017, Yale’s home page listed . . .”). If a more formal citation is needed, it may be styled like the examples below. For a source that does not list a date of publication or revision, include an access date (as in example note 2).
FN Carl Tollef Solberg and Espen Gamlund, “How Should We Evaluate Deaths?,” Practical Ethics, published date May 3, 2019, http://blog.practicalethics.ox.ac.uk/2019/05/guest-post-how-should-we-evaluate-deaths/.
SN Solberg and Gamlund “How Should We Evaluate Deaths?.”
B Solberg, Carl Tollef and Espen Gamlund. “How Should We Evaluate Deaths?.” Practical Ethics. Published date May 3, 2019. http://blog.practicalethics.ox.ac.uk/2019/05/guest-post-how-should-we-evaluate-deaths/.

FN Fırat Güllü, “İbsen Yazıları – 5 (19. Yüzyılın Ortasında Avrupa Tiyatrosu),” Mimesis, published date May 23, 2021, https://www.mimesis-dergi.org/2021/05/ibsen-yazilari-5-19-yuzyilin-ortasinda-avrupa-tiyatrosu/.
SN Güllü, “İbsen Yazıları – 5 (19. Yüzyılın Ortasında Avrupa Tiyatrosu).”
B Güllü, Fırat. “İbsen Yazıları – 5 (19. Yüzyılın Ortasında Avrupa Tiyatrosu).” Mimesis. Published date May 23, 2021. https://www.mimesis-dergi.org/2021/05/ibsen-yazilari-5-19-yuzyilin-ortasinda-avrupa-tiyatrosu/.

Social Media Content
Citations of content shared through social media can usually be limited to the text (as in the first example below). A note may be added if a more formal citation is needed. In rare cases, a bibliography entry may also be appropriate. In place of a title, quote up to the first 160 characters of the post. Comments are cited in reference to the original post.
Text Shakespeare’s Globe Theatre announced that reopening after the pandemic: “429 days. We're back” (@The_Globe, May 20, 2021).
FN Piccolo Teatro Milano (@piccoloteatromilano), “Che cos’è il teatro? Perché si va a teatro? Perché si fa a teatro?,” Instagram video, July 19, 2021, https://www.instagram.com/p/CQS8QpcLsbP/?utm_medium=copy_link .
SN Piccolo Teatro Milano, “Che cos’è il teatro?.”
B Piccolo Teatro Milano (@piccoloteatromilano). “Che cos’è il teatro? Perché si va a teatro? Perché si fa a teatro?.” Instagram video, July 19, 2021. https://www.instagram.com/p/CQS8QpcLsbP/?utm_medium=copy_link .

Personal Communication
Personal communications, including email and text messages and direct messages sent through social media, are usually cited in the text or in a note only; they are rarely included in a bibliography.
FN Sam Johnsonn, Facebook message to author, January 1, 2017.

SUBMISSION CHECKLIST

Ensure that the following items are present:

 Confirm that the category of the manuscript is indicated.

 Confirm that “the paper is not under consideration for publication in another journal”.

 Confirm that final language control is done.

 Confirm that journal policies detailed in Information for Authors have been reviewed.

 Confirm that the references cited in the text and listed in the references section are in line with

journals’s reference system based on Chicago Manual of Style.

 Copyright Agreement Form (will only be sent after the article has been accepted for publication)

 Permission for non-published material

 Title page

 The category of the manuscript

 The title of the manuscript both in the language of the manuscript and in English

 All authors’ names and affiliations (institution, faculty/department, city, country),

e-mail addresses

 Corresponding author’s email address, full postal address, telephone and fax number

 ORCIDs of all authors.

 Acknowledgements, grant supports, conflicts of interest should be indicated

 Main Manuscript Document

 Important: Please avoid mentioning the the author (s) names in the manuscript.

 The title of the manuscript both in the language of the manuscript and in English

 Abstracts (100-150 words) both in the language of manuscript and in English

 Key words: 5 words both in the language of manuscript and in English

 Extended abstract (600-700 words) in English (for articles in German and Turkish)

 Manuscript body text

 References

 All tables, illustrations (figures) (including title)

CONTACT INFO

Editor-in-chief : Nilgün Firidinoğlu

E-mail : jtcd@istanbul.edu.tr

Phone : +90 (212) 455 57 00

Address : Istanbul University, Faculty of Letters,

Department of Theatre Criticism and Dramaturgy

Balabanağa Mah. Ordu Cad. No: 6

34134 Laleli, Fatih, Istanbul, Turkey

Standards and Principles of Publication Ethics

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the Committee on Publication Ethics (COPE), the Directory of Open Access Journals (DOAJ), the Open Access Scholarly Publishers Association (OASPA), and the World Association of Medical Editors (WAME) on https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing
The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.
Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.
Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication.

Plagiarism
Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%.

Double Blind Peer-Review
After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Research Ethics

Journal of Theatre Criticism and Dramaturgy adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.

- Principles of integrity, quality and ransparency should be sustained in designing the research, reviewing the design and conducting the research.
- The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.
- The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. - The research should be designed to protect the autonomy and dignity of the participants.
- Research participants should participate in the research voluntarily, not under any coercion.
- Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.
- The independence of research must be clear; and any conflict of interest or must be disclosed.
- In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.
- If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.
- In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.

Author's Responsibilities

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. Authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.

All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research are not sufficient for being accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the Copyright Agreement Form The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.

All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment. When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor-in-Chief to provide retractions or corrections of mistakes.

Responsibility for the Editor and Reviewers

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.

Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.

Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.

Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.

Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.

A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.

The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.