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When a literary text gets to reader after it is written by author, it loses its feature belonging to the writer and it becomes reader’s property. This is because literary texts are not like laws or informative texts, they are meant to meet reader’s expectations in terms of his aesthetic taste of reception. Reception aesthetic which aims to interpret classical texts with contemporary view explains that with undefined areas within the text. Reader suggests new possibilities unintentionally guessing from character’s appearance, mood etc. Adjectives provoke different reactions in different readers. New horizons are built within reader’s mind, enriching his life with an experience. Thisexperience help the text to be reproduced with reader’s personality. Hüsn ü Aşk which is one of the most important literary texts of 18th century is reproduced with interpretation of novel, story, poetry, theatre, calligraphy, paper marbling besides ballet. Theatre interpretations of Hüsn ü Aşk were written by three different authors. These are: Hüsn ü Aşk play by Abdülbâkî Baykara, Güzellik ile Aşk by Turan Oflazoğlu, Aşk Hastası play by Kenan Işık. In this study, in the light of basic principles of reception aesthetic, we will examine how play writers fill the undefined areas in their interpretations of Hüsn ü Aşk and which methods they follow to impress audience.

HÜSN Ü AŞK IN TİYATRO METNİ OLARAK ALIMLANIŞI