Dinçer Sümer’s play Old Photographs is often dismissed by scholars as the story of a prostitute although it contains lingual and social elements about the politics of identity that pursues the dilemmas and conflicts Turkey experienced in the 1970s.
First part of this article highlights how the fractures and unification of narratives in Old Photographs manifest an opposition to conventional structure of charactersn and plot, and refuse the fixity and formula of traditional drama. Thus, characters in the play are unique as they defy categorization and resist conceptualization. By disturbing grand narratives and focusing on identity crisis, Old Photographs deserves more textual scrutiny. The article also focuses on scholarly works that analyze Old Photographs and displays the problem in Turkish literary theory which focuses on drawing categories rather than scrutinizing textual merits of individual works. This problem in critical theory results in an impartial and inaccurate portrayal of Turkish drama.